SPYGLASS GUEST

And so Greenslade reach their third album just over a year after their first. The original line up is still intact, but guitarist Clem Clemson is brought in to help out on a couple of tracks. The first obvious change to catch the eye is the lack of a Roger Dean sleeve. Instead we have a rather prosaic image which is saved only by the Dean Greenslade logo.

The opening instrumental "Spirit of the dance" is surprisingly upbeat, a bit like one of Keith Emerson's Aaron Copeland interpretations. The usual disappointingly functional vocals appear for the first time on "Little red Fry-up". Any fears of this being another "Alan's psychedelic breakfast" are quickly dispelled, although the lyrics are similarly trite. The track is significantly improved by Clemson's fine guitar work though. The latter part of side one of the LP is more downbeat, "Rainbow" being reflective twaddle, and "Siam seesaw" a cod oriental instrumental once again saved by a Clemson solo.

The second side features the 8½ minute "Joie de vivre", by far the most interesting track on the album. This classically influenced (Pachabel's "Canon" seems to be a clear source of inspiration) roller-coaster features many changes of mood and sound, greatly enhanced by some violin by Graham Smith and church organ recordings. Even the vocals here are passable. Sadly things take a sharp dip thereafter, as the band rapidly run out of ideas to the extent that they revert to a cover version for the final track. This interpretation of Jack Bruce's "Theme from an imaginary western" is insipid, especially when compared to Mountain's momentous version of that song.

Although there is a general sharpness and greater emphasis on the rock elements on "Spyglass guest" than there was on the preceding albums, there remains a lack of quality to the song-writing. "Joie de vivre" is one of Greenslade's finest pieces, but it is adrift here in a sea of mediocrity.

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