BEDSIDE MANNERS ARE EXTRA
Greenslade
•Symphonic Prog
From Progarchives.com, the ultimate progressive rock music website
3.60
| 237 ratings | 39 reviews | 25% 5 stars
Excellent addition to any |
Studio Album, released in 1973 Songs / Tracks Listing 1. Bedside Manners Are Extra (6:16) - Dave Greenslade / keyboards
Artwork: Roger Dean and to Quinino for the last updates Edit this entry |
Buy GREENSLADE Bedside Manners Are Extra Music
-
DOUG LARSON IMPORTS — Buy prog rock music and rarities (Free shipping on orders over 10 CD's)
- AMAZON.COM — Best-selling prog vinyls
GREENSLADE Bedside Manners Are Extra ratings distribution
(237 ratings)
Essential: a masterpiece of progressive rock music(25%)Excellent addition to any prog rock music collection(42%)Good, but non-essential (27%)Collectors/fans only (6%)Poor. Only for completionists (0%)
GREENSLADE Bedside Manners Are Extra reviews
Showing all collaborators reviews and last reviews preview | Show all reviews/ratings
Collaborators/Experts Reviews
SPECIAL COLLABORATOR Prog Folk
PROG REVIEWER
PROG REVIEWER
PROG REVIEWER
SPECIAL COLLABORATOR Honorary Collaborator
SPECIAL COLLABORATOR Honorary Collaborator
SPECIAL COLLABORATOR Honorary Collaborator
For despite the haunting Roger Dean cover, Greenslade's lyrical themes are as down to earth as they come, and the group's music, while undoubtedly progressive, still uses the "song" as its base. Lawson's vocals may be far from technically perfect but they are soulful and suit the compositions. There's plenty of playful keyboard interaction, with the piano, electric piano, mellotron and all manner of synths making their presence felt. While Greenslade lyrics are occasionally despondent, I feel that there's a rather uplifting quality to the music on this album. Some might see it as a lightweight affair, but I think they'd just be missing the point.
Take the vaguely Carribean feel of the "Have a holiday" refrain towards the end of the title track for example. When prog groups do such things it's usually long past the sell-out date (sorry, should I have said sell-by date?), but in Greenslade's hands there's something natural and joyous about it all. In fact, this album is full of listenable progressive music that might well attract non-prog fans.
The exuberant instrumental Pilgrim's Progress strikes the perfect balance between pomp and melodic beauty. Time To Dream is another one that is sometimes silly and yet contains some magnificent solo-ing and interplay between the players. Drum Folk sees McCulloch come to the fore with an enjoyable drum solo, before a mournful segment in which Greenslade proves once again that he was one of the great keyboardists of the classic era of rock music. Sunkissed You're Not is an electric piano-heavy cut that smacks of the Canterbury sound with some effortless changes of pace that reinforces the idea that Greenslade is one of the most natural sounding prog groups ever. Chalkhill is the most "fusiony" of the album's six pieces, yet has an ominous opening and an exultant closing that set it apart from other bands' fusion cuts.
Despite the light-hearted feel, Greenslade is still capable of careening freewheeling rock moments and it's interesting that you never feel the absence of guitars on this album. Bedside Manners Are Extra is just feel-good classic-era prog. ... 74% on the MPV scale
PROG REVIEWER
Anyway, GREENSLADE's music tended to much more conventional progressive rock, those who aren't too keen on the jazzy/bluesy COLOSSEUM would have less problems here, but then the high-pitched vocals of Dave Lawson (he definately sounds a lot different than on I Spider) is an acquired taste and might throw off many people. You won't find much trace of that old COLOSSEUM sound here, despite the presence of two ex-COLOSSEUM members. Only half the songs on "Bedside Manners Are Extra" have vocals, the rest are instrumental. This album is also packed with Mellotron, I never imagined Dave GREENSLADE being a tron user, mainly because his works with COLOSSEUM were obviously dominated by organ and piano, but this album is loaded with it, and a good reason to buy this album, to fill a hole in your Mellotron collection. The title track starts off deceptively like soft rock, but most of the rest of the piece tends more to the Romantic prog spectrum. Most of the rest of the album has a more bombastic keyboard-dominated style of prog, but much more restrained than say, Keith Emerson or Rick Wakeman. "Pilgrams Progress" is an instrumental piece with a recurring theme played on tron flute. There's the occasional ELP-like passage too. "Time to Dream" has an almost GENESIS-like feel to it, especially the use of Mellotron. "Drum Folk" gets frequently criticized for the use of drum solos twice, but the great passages (including more wonderful use of Mellotron) makes up for it. The final cut, "Chalichill" is an all-instrumental piece with a great jam at the end with a wonderful Moog solo. This is truly an underrated prog rock album (likely because of Dave Lawson's singing), and aside from CURVED AIR, one of the greats found on the Warner Bros. label (a label you can't get more mainstream than that, it's nice to see GREENSLADE and CURVED AIR on a label too full of overly-commercial crap).
I can't get over the photo of Dave GREENSLADE you find in the gatefold of the LP and that expression on his face.
No doubt, like RARE BIRD, this band also had two keyboardists and no guitarist, even if the music sounds nothing like RARE BIRD. It's an interesting fact that Dave GREENSLADE's first solo effort, "Cactus Choir" (1976) featured ex-RARE BIRD vocalist Steve Gould.
If you can get over Dave Lawson's singing, you got yourself some more excellent prog rock, this album really grew on me.
PROG REVIEWER
3 tracks are instrumental, 3 tracks feature excellent vocals of Dave Lawson. His vocal does sound timid on the title track but on the other two vocal tracks it does contend some power. The voice is strange but I do enjoy it. More than once the album refers to Yes at the time Fragile was released but fortunately Yes is just one of the references, next to Elp and Colosseum. The keyboards on "Time to dream " are sounding a bit like Wakeman's and there're also some repeated motifs against the grain of the atmosphere, a bit like Yes did on "long distance". But unlike Yes the floating keyboards are omnipresent and that makes the album interesting for people who are looking for fabulous keyboard parts. The melody of the verse is sounding haunted in an excitable way. "Sunkissed you're not" is one of the most memorable moments on the album. On this track the fusion influences are more present than on other tracks. A complex track to get into. Give it time.. . The title track is the most accessible one with strong vocal melodies and a lyric which refers to adolescent years. "Pilgrims progress" is a fascinating up-tempo track with great melodies. Like on all the other tracks those floating keyboards are a delight to listen to and the main reason why this album deserves some of your attention. All instruments are handled very well. Also the way the drum are handled is worth mentioning not only on "Drum folk" which is a great track again, full of excerpts of floating mellotrons. It starts off like something from ELP but soon the atmospheric mellotrons are coming through and later on there's a drum solo which is odd to be found on a studio album.
The record was produced very poor. The rhythm section sounds like it's been recorded in a room full of mud. Even when I replaced my scratched record by a perfect sounding cd, the quality of the sound was hardly improved. I heard of the existence of a compilation album which included some remastered songs but I'm not sure it actually exists. Must be hard to take some material from this album which would mean there's some second class material included as well which isn't the case, every track is interesting enough. On "Bedside manner's are extra" the sound of Greenslade is more colourful than the on other albums of the band although the sound of the keyboards is a bit outdated today. Listening to the album gives you a laid back feeling. This is one of the few prog albums I ever heard that aren't pompous in any way. If you like the instrumental side of Yes or ELP you should give this one a spin; or better give this album several spins, it'll only get better.
SPECIAL COLLABORATOR Honorary Collaborator
- Many of the tunes have a jazz-rock or funky base, which is a problem for me because I have never been able to appreciate jazz
- While it is full of delicate little melodies, there don't seem to be many fully-developed themes so it all seems rather inconsequential
- Too much of it is noodly keyboard jamming, extended duelling workouts without any clear purpose and I am not usually a fan of such things
- Mood is generally light and airy but with very little variation or contrast
- Songs are pleasant without being outstanding and arrangements are weak (compare to Rare Bird)
- Lawson's voice is poor
- Sound, even on the CD, is astoundingly poor
- It is the only Prog that I know which simply floats past me, I don't feel involved in it in any way
The above are, of course, sweeping generalisations. The other side of the coin is that Bedside Manners Are Extra is full of light and bouncy compositions, bubbly as a mountain stream cascading over rocks, and performed with a welcome deftness of touch. And there are some nice little hooks too: the "have a holiday" section of the title track; the beautiful Tron flutes in Drum Folk; and the more reflective mood opening Chalkhill immediately spring to mind.
Though it is an instrumental, for me, Pilgrim's Progress is by far the most successful track and an old favourite. It has an internal structure and rhythm which lends it a sense of purpose, aided by a wonderful chugging up tempo theme and an excellent build-up to a duelling-keys climax. No dodgy vocals and no jazzy noodling, but a much stronger thematic identity which makes it memorable.
And now the crunch: Bedside Manners Are Extra doesn't 'touch' me in the way I need it to. For some reason that I have never really been able to fathom, I simply 'don't get it' and I guess after 30 years I am not now likely to. It remains for me an enigma - enjoyable but not as good as it ought to be.
[Check out the cover by Roger Dean - it's my all time favourite]
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
Following on from their 1973 debut album, the Greenslade line up remained unchanged for this release the following year. In terms of content, this is very much a case of more of the same, but at the same time new and improved. If the dual keyboards of Dave Greenslade and Dave Lawson appealed to you the first time round, they certainly will do so again here.
The opening (title) track is surprisingly downbeat with a reflective lyric and delicate vocals. A sudden infusion of quicker electric piano type keyboards and then lilting mellotron cause regular variations in the mood. After a quiet intro, "Pilgrim's progress" turns out to be one of the liveliest and most upbeat pieces Greenslade have recorded. There's more than a hint of ELP in the melodic keyboard runs. The closing track on side one, "Time to dream" reflects the more muddled atmosphere of the first album, but still has more bite. This track actually sounds remarkably like the post Russ Ballard output of ARGENT.
The feature track on side 2 is the 8� minute "Drumfolk". This diverse instrumental once again opens with an ELP like organ workout. Unfortunately the ELP similarities continue with the unforgivable indulgence of a needless drum solo (as admittedly suggested by the title). Fortunately, the engineer has the presence of mind the fade the drum solo in full flow, and replace it with some fine flute like keyboards. Drummer Andy McCulloch cannot take a hint however, and returns for the last word!
"Sunkissed you're not" is a bluesy, slightly funky piece which doesn't really work. The lyrics are just a little too off the wall, and the melody fragmented and weak. The final track, "Chalkhill" retains the upbeat feel of the entire album in a spirited instrumental.
"Bedside manners are extra" undoubtedly represents Greenslade at their peak. While that peak is still some way below that of their prog peers, this is a worthy album of enjoyable music. Pity about the drums solos though.
The album is complemented by a fine Roger Dean gatefold sleeve design.
SPECIAL COLLABORATOR Honorary Collaborator
SPECIAL COLLABORATOR Honorary Collaborator
This is the 2nd album by Greenslade - a band which had a mastermind of keyboard player Dave Greenslade, joined by colleague Colosseum alumnus Tony Reeves (bass), Andy McCullough who played on King Crimson's "Lizard", and keyboardist/vocalist Dave Lawson. From their track records you can guess that this must had been a great supergroup. Their music is basically comprising multi-layered keyboard / mellotron work with unique vocal line of Dave Lawson. Unfortunately this album is not as strong as the first one. The whole album when it's enjoyed in its entirety seems like having a disorientation of the overall music theme. However, each individual song is not a bad one. The opening track "Bedside Manners Are Extra" (6:16) attempts to create a cohesive tune, by blending the vocal and mellotron work combined with drumming. However, the melody line of the vocal and the mellotron / keyboard work do not seem to unite in a cohesive way. The best track is, of course, track no 4 "Drum Folk" where Andy McCullough demonstrates his virtuosity in dynamic drumming throughout the track. It's like McCullough Show entirely!
Overall, I think this is a good classic prog rock album which should be collected by those of you who love vintage prog bands. Even though this is less solid than the debut album, but still . it's worth collecting. Keep on proggin' ..!
Peace on earth and mercy mild - GW
PROG REVIEWER
"Bedside Manners Are Extra" has a very dreamy sound as vocal melodies turn into vocals a minute in with piano and bass. Drums arrive 2 1/2 minutes in followed by a windstorm of mellotron. Fragile vocals come in followed a minute later by keys and a more energetic sound. More vocals and mellotron to end it. "Pilgrims Progress" is an instrumental that opens with flute and mellotron in a mellow beginning. An uptempo section takes over with drums and organ leading the way. More flute 2 minutes in. It calms right down a minute later with flute followed by floods of mellotron. Some nice drumming and then the tempo picks back up 4 minutes in. More mellotron and some great bass lines 6 minutes in. "Time To Dream" opens with bass, drums and then organ, it ends with piano. Nice. Vocals,organ and drums arrive and lead the way. I like the line "Forgive me for staring you remind me of someone i know". Distorted keys come in with some scorching melodies as drums pound away 2 1/2 minutes in. Back to the vocal / bass melody as organ chases. The bass is well done throughout this tune.
"Drum Folk" is another instrumental. It begins with lots of atmosphere as different sounds come and go with no real melody. That is until 1 1/2 minutes in when drums and a flury of keys come charging in. Mellotron and bass follows. The drums are relentless as we get a solo after 2 1/2 minutes. It then calms right down 4 minutes in to some solo flute. Organ and then a minute later some great keyboard sounds.This is great as it goes on and on. Another drums solo before 8 minutes. "Sunkissed You're Not" opens with a drum outburst before vocals come in quickly. Bass and keys standout. I like the vocals on the chorus. Nice instrumental interlude as bass and keys shine. Kind of jazzy. It lightens 4 1/2 minutes in before drums, then vocals return. "Chalkhill" is an instrumental. This one is dark with bass and drums leading the way as keys join in. The organ comes in at 1 1/2 minutes. Nice bass 2 minutes in. The tempo picks up before 3 minutes. Piano to end it.
I wasn't bowled over by this album but to me it's worth 4 stars for the mellotron and warm, catchy tracks. Ok the Roger Dean cover art doesn't hurt either.
SPECIAL COLLABORATOR Symphonic Team
Bedside Manners Are Extra is the second album by Greenslade, and like the self-titled debut this one too features art work by the great Roger Dean. Once again we are given keyboard-dominated progressive Rock in a somewhat similar style to that of Rick Wakeman and Emerson, Lake & Palmer, though Greenslade is somewhat "lighter". The opening title track is not too exciting, but the Pilgrim's Progress is an excellent number.
As I noted in my review of the band's debut, I like Greenslade but I don't love them. I think their albums are good, but none of them are great. Personally, I think this second album is preferable over the first, but only slightly so. I enjoy this music, but only a few of the tracks manage to excite me and leave any lasting impressions. It is good, neither more nor less.
Recommended for fans of keyboard-driven progressive Rock, but there are better albums of its kind
PROG REVIEWER
PROG REVIEWER
''Bedside Manners Are Extra'' is of course not very different and the ones who liked their first release, shouldn't dislike this one even if the long ''Drum Folk'' is very transparent and little interesting. Closer to improvisation than a structured track (especially during the first half).
The second part is saved by a beautiful and melodic keyboards (simulating flute). The closing (and second) drum solo from this instrumental track is again far from being necessary. But I have never been over enthusiast over this ''performance'' on a studio album.
There are too few tracks which can blow away the listener to be honest. But ''Greenslade'' never played in the first division; which is fine since not all bands can play major roles in the music history.
On the contrary of most of the reviewers here, I preferred their debut album even if the ELP influence was too clearly marked. The loose and jazzy structure of ''Sunkissed You're Not'' can't attract my attention, at least on the positive side. But before this track, the mellowish and passionless opener (and title track) gave already a hint of what was going to be available on this record.
IMO, the best song is ''Pilgrims Progress''. Bombastic as you wish, melodic as I like. Gorgeous mellotron and at last, some feeling of unity in the music. It is also the most ELP oriented song from this offering. An excellent number and the highlight for sure.
The closing ''Chalkhill'' is also worth a listening and shines brighter than the rest; but this was not a daunting task frankly. All in all, this is not a great album. I would say average (five out of ten). Upgraded to three stars.
SPECIAL COLLABORATOR Honorary Collaborator
The music on Bedside Manners are Extra is very symphonic which is mostly due to the fact that there are two keyboard players in the band. They have no guitarist on the other hand, but the guitars are not missed. Lots of vintage keyboard sounds like organ and mellotron are a large part of Greenslade`s sound. The vocals from Dave Lawson are okey but nothing more ( I like his sinister mood in the title track though). The music is very influenced by the big symphonic prog bands of the time Yes, Genesis and especially ELP. There are lots of classical inspired notes on the album. We also get to hear some drum soloing as the fourth song on the album called Drum Folk is a vehicle for Andy McCulloch to showcase his skills. There are also some very skilled keyboards soloing in that song.
The musicianship is excellent and lovers of vintage keyboard sounds should take a listen to this.
The production is better than on the debut. Warm and pleasant.
Greenslade was always a second division symphonic prog rock band IMO and even though I really enjoy their debut I know that it�s probably more out of nostalgia than out of objective opinion that I gave that one 4 stars. Bedside Manners are Extra is a good album but not really excellent. 3 stars is my rating. The songs don�t touch me and seem to much to be vehicles to showcase skills instead of emotion ( I guess Greenslade had the same disease as ELP).
COLLABORATOR Honorary Collaborator
02. Pilgrims Progress The beginning fool ... .. Below is a progressive instrumental in the best style Emerson, Lake & Palmer of Hoedown, and for more highlights the keyboards, a progressive 'dancing' at school in Triunvirato (which is the escloa of Emerson, Lake & Palmer). And it is developing lock in a bustling and cheerful melody. Featured in the line of low-end, simple and very well played.
03. Tune To The Dream It starts with certainty to what I call a 'progressive samba' (of course, one way English!), And then, changes for a vocal line worked very well (which of course is a high point of the band, the vocals of Dave Lawson are wonderful), and gave him land of keyboards and inspired with original timbres. Removing soil from a keyboard jazz/ar�bi- co close to what would be the 1st part of the disc.
04. Folk Drum Heady! Starts so that you get scared, and as the name already assumed, to highlight the impact of Andrew McCulloch (with a very interesting ground there by means of the song), and gives you more land of keyboards, with the already known and worked with melodies that all keyboardist progressive values that should have total privacy. Then the ground begins a which leads us to the old and famous' Land of Never '(you know those tunes that remind us of distant lands and beautiful style in Lord of the Rings?). And most jazz solos of keyboards! 8'53 of many soils and melodies.
05. Sunkissed You're Not Belo riff! And again the beautiful voice, with a very catchy chorus! In summary the best of the disc in my think!
06. Chalkhill Nice introduction of low! Followed by a perfect battery and taken to land and married the keyboard. Dave Greenslade knew very well how to work the keyboards of this disc. (A curious fact to note is that disc for sure is that he was recorded live in studio, as some imperfections appear on the disc and were not 'maquiadas', which in my opinion is a great thing. Ending only with a final piano creepy! In summary this disc is very good, nice to find the ears accustomed to big names of Progressive Rock, we must always in remember that music is made of large discs of great composers, not just for big names already included!
www.progshine.com
SPECIAL COLLABORATOR Honorary Collaborator
The best example of this is the self titled opener, nice keyboards, good arrangements but can't stand the complete track, something is too clean too pristine to be real, seems like they avoid all the risks to play safe and become repetitive to an extreme, they create some sort of Prog Pop that is nice to the listener but the name of the game is Progressive Rock and this implies risks, the song flows gently from start to end without surprises or brilliance.
"Pilgrim Progress" starts soft and appears to be predictable, but suddenly they change into some sort of soft Heavy Prog that gives hope of listening something different, but again, the lack of imagination appears to be the general rule, despite some ELP influenced riffs that present some pomp, they fall into bland sections "a la" CAMEL, but without the originality, to the point that they start to sound a bit cheesy. A few radical changes are not enough to capture my interest into this anodyne track that keeps repeating itself almost from the start.
"Time to Dream" is an excellent title for this track, because by this moment I'm already sleepy, at least the song is frenetic enough to stop me from taking a nap, but I believe it's absolutely incoherent, like they never knew what they wanted, the instruments are thrown one over the other with no coherence, not a good song.
"Drum Folk" is supposed to be the central piece, the closer GREENSLADE comes to an epic, and to be honest, they achieve some suspense in the introduction, but when the keyboards take the lead, the band falls again into that predictability that is one step to be tedious.
Before they even reach the climatic section of the track, they decide to include a drum solo, for God's sake, never seen one in such a terrible moment, not that is bad, because Andy McCulloch is very capable, but destroys all the coherence of the song, and even worst, they restart with a soft flute section instead of using the extra boost the drums provided.
Surprisingly a Psychedelic guitar keyboard break is the best the band has presented since the album started, but when they jump to another solo, I believe it's time to press the skip button.
"Sun Kissed You're Not" starts like some sort of failed soft jazz Symphonic experiment (something like Chuck Mangione meets Rick Wakeman), the keyboards can only be described as cheesy and unimaginative, I can't understand how they were able to create a middle 80's product in the early 70's, no need to comment this track, for a second occasion the skip button is the solution.
"Chalkhill" closes the album in the same vein as the previous track, but still with less energy and weaker keyboards, at this point the skip button becomes my best friend.
Not much to say, good musicians not always make good albums because skills alone are not enough, you need some imagination, something this album lacks from start to end, will give them two stars being that some keyboard sections are interesting, but nothing more.
SPECIAL COLLABORATOR Prog Folk Researcher
This second album suffers a bit from the sophomore jinx I think, not necessarily because the music is any less interesting or trite than the band’s debut, but more because once you’ve heard their self-titled debut you maybe expect something newer and fresher for a follow-up, but really it’s more of the same. Certainly these guys aren’t the first (and won’t be the last) band to crank out several records of only slightly-varying music, but in an age where progressive musicians were reaching to often absurd heights to stretch themselves musically, Greenslade get no better than an average grade for innovation and creative development.
On this album the couple of songs that do manage to stand out a bit are “Time to Dream”, “Pilgrim’s Progress” and “Sun Kissed You're Not”. “Pilgrim’s Progress” gets a nod for the extended Mellotron passages and gently-flowing arrangement, and frankly for avoiding too much singing from Dave Lawson. Prog music fans are pretty tolerant of unusual singing voices (Rush, Yes, Supertramp and Spring are all good examples), but in Greenslade’s case less really is better.
“Sun Kissed You’re Not” is about as close as the band comes on any of their albums to a true symphonic rock epic. Not long enough for that to be sure (only six and a half minutes), but the trappings are all there with extended keyboard passages, a couple of minor tempo shifts and an appropriately abstract but seemingly deep theme. Add to that a clear jazz influence in the early inflections of the song and you have quite an unexpected treat. Too bad the band doesn’t have a lot more like this in their repertoire. I also think this could have become something Yes-like had the group found a way to morph the closing (and similar) “Chalkhill” into this one to create a real magnum opus. They sound like one song to me anyway.
And “Time to Dream” is an interesting case as it has some of the characteristics of ‘Sun Kissed’ (jazzy, ‘pretty’ keyboards) but also suffers from Lawson’s singing. In this case though it almost seems like the band breaks away from the fusion-like opening to a borderline AOR sound on purpose, just to bring the thing back around to something tasteful by the three minute mark. A very odd tune but one I find myself strangely drawn to. Better not to fight your impulses I always say…
So a decent album, certainly not a classic masterpiece (nor was anything else the group put out), but definitely well worth seeking out if you are a symphonic rock fan interested in having a fairly comprehensive collection of the genre. Three stars, maybe 3.5, and recommended if you have a few extra dollars of discretionary income. The original and import versions are too expensive in my opinion, but the Warner CD reissue is very modestly priced.
peace
PROG REVIEWER
SPECIAL COLLABORATOR Honorary Collaborator
Musically the period between the first and second release was too short for anyone to expect any particular changes in style.However the new work contains light Fusion/Canterbury touches in some instrumental parts of an otherwise very Classic British Prog effort.The music is again focused on refined, elaborate and diverse compositions, heavily driven by the accomplished keyboard duo of Greenslade and Lawson.While not extremely original, the sound swirls around tremendous Hammond organ breaks, huge Mellotron flashes, dreamy Moog synths and smooth electric piano parts with a jazzy edge, however the overall structures remain in a symphonic vein with links to the sound of GENESIS, FRUUPP and early KING CRIMSON.A couple of tracks are led by nice groovy parts and loose instrumental runs with some sort of a COLLOSEUM edge, while there are some really astonishing dual keyboard battles delivered in the album, creating bombastic and furious atmospheres.
Another winner in Greenslade's discography.Mostly impressive keyboard-led Progressive Rock with huge space for instrumental workouts of a nice inspiration.Strongly recommended...3.5 stars.
PROG REVIEWER
SPECIAL COLLABORATOR Honorary Collaborator
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.
PROG REVIEWER
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.
PROG REVIEWER
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.
SPECIAL COLLABORATOR Honorary Reviewer
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.
Latest members reviews
What a delicious album, the music here is so gentle it goes with anything. It exudes a calm yet engaging demeanour that beckons me to it with a smile. The music truly matches it's beautifully entrancing artwork (who is the green guy!? Fella needs to be adapted into media of some kind, aside from mus ... (read more)
Report this review (#2522161) | Posted by Beautiful Scarlet | Monday, March 8, 2021 | Review Permanlink
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 previo ... (read more)
Report this review (#1617017) | Posted by cfergmusic1 | Thursday, September 29, 2016 | Review Permanlink
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 muc ... (read more)
Report this review (#1057158) | Posted by VOTOMS | Wednesday, October 9, 2013 | Review Permanlink
At times is good (just good), at other times dull and forgettable The Lack of Guitars Is probably one of the responsibles: "Bedside Manners are Extra" (3.00 out of 5.00) Starts enigmatically but weak, it has a lot of piano and mellotron good moments but not as delightful as I expected. Also, ... (read more)
Report this review (#747481) | Posted by raul_siberian | Wednesday, May 2, 2012 | Review Permanlink
A Sundance in the Temple ☞note: this review stands for Greenslade's first two albums. You, who were around 18 in 1973, have to admit it. Do not deny it. Whenever you saw that green Dean cover glittering from the shopwindow as it if were inside a cave of wonders with vaults as high as a cath ... (read more)
Report this review (#620023) | Posted by ibnacio | Thursday, January 26, 2012 | Review Permanlink
Bedside Manners Are Extra is Greenslade at their peak. While the first album was still a search for direction, the second one is more individual and musically more solid and interesting. The Concept is still the same, there are those Lawson-love-songs whitch are unlike Greg Lake-ballads, aggressive ... (read more)
Report this review (#365284) | Posted by BrainStillLife | Monday, December 27, 2010 | Review Permanlink
I put in a bid on Ebay for the live album some days ago. Mostly because of the Prog Archives reviews and the price (hilarious low). I hope I will win it later tonight. So I thought it was perhaps a good idea to dust of my copy of Bedside Manners Are Extra. I have played it only once a couple of y ... (read more)
Report this review (#186851) | Posted by toroddfuglesteg | Saturday, October 25, 2008 | Review Permanlink
Another great album from the great band Greenslide. It was released the same year than a debut and it is nearly as good. This album is somehow less rocking that the debut. A lot of soft slow passages are played. The musicianship is perfect and in the vein of the debut. My favourite song is S ... (read more)
Report this review (#104929) | Posted by Hejkal | Saturday, December 30, 2006 | Review Permanlink
The second work released in 1974 "Bedside Manners Are Extra". It is great goods that a cool, fantastic sound is bright. It is the highest masterpiece as the group. It is invited to the world of a comfortable fantasy. I recall Sunday in childhood afternoon when listening to this album why. ... (read more)
Report this review (#57006) | Posted by braindamage | Saturday, November 19, 2005 | Review Permanlink
This is a truly marvelous piece of keyboard orientated prog-rock, and i'd like to give it a five because this is a 4.75 star album and nearer to the five than the four. If you like keyboards, especially Mellotron and Hammond Organ, this album may well be worth adding to your collection. This a ... (read more)
Report this review (#52814) | Posted by Swinton MCR | Saturday, October 22, 2005 | Review Permanlink
Ive always loved GREENSLADE....for their sheer musicianship...and the fact that they (like RARE BIRD) used "only" keys,bass and drums....instrument wise.....this is laidback progmuisc....well thought out prog and the always wonderful mellotron to the fore!! "Bedside manners are extra" are one wond ... (read more)
Report this review (#3061) | Posted by Tonny Larz | Friday, November 28, 2003 | Review Permanlink
Post a review of GREENSLADE "Bedside Manners Are Extra"
You must be a forum member to post a review, please register here if you are not.
MEMBERS LOGIN ZONE
As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.
You are not logged, please complete authentication before continuing (use forum credentials).