LIVE 2001 - THE FULL EDITION

This is a damn fine live album, acting as a 'best of' spanning a 23 year career , all the expected tracks are present except for my all-time favorite Greenslade tune 'Melange' off the debut, (which you can listen to it on the MP3 section of PA) and the tremendous 'Pilgrim's Progress' of the second release. . There is a tremendous upside in John Young's voice (he of Asia, Wetton, Lifesigns) being so much more attractive than original second keyboardist Dave Lawson's, whose vocals were a hard digestion to say the least and the presence of fabulous bassist Tony Reeves. I, for the record, will restate that Reeves is one of my giant bass idols, owner of an exemplary technique, an almost fretless style that is awe-inspiring. Unfortunately, original drummer Andy MacCulloch (yes of King Crimson infamy) is replaced by the more straightforward John Trotter. This disc really encompasses some those little details that make this band somewhat unique in the prog realm. I will endeavor to highlight those in the course of the review.

Let's get to the killer tracks first: 'Cakewalk' opens up the festivities with Reeves bopping bass leading the crew and it's just plain fun. Little tongue in cheek humor to start off a show, but what do you expect! Dave Greenslade will always be considered as the poor man's Emerson/Wakeman, which in no way diminishes his celebrated talent. The luxuriant 'Catalan' is a celebrated piece that gives the soloists the room to show off their chops (Reeves pulls off a solo that is to die for) but not before going through some Mediterranean sonic stylings that just make you close your eyes and dream. A true prog classic off their 'Large Afternoon' is the title of their 2000 return album, their last one to date. It's a classic setup for both John Young and Dave Greenslade to display some explosive work on synthesizers, piano, organ and such. 'Sundance' is another Greenslade classic off their stellar debut disc, an epic and symphonic masterpiece that swims in dense orchestrations, dazzling electric piano and tons of flute mellotron, before unleashing a blazing hot synth blast that would make Manfred Mann blush with envy. The honky tonk piano solo in the midsection is diabolical. A couple of tracks from 'Large Afternoon' come up next, the 'On Suite' is a modern synth fest, with a bass track nice and present as well as a sax/oboe synth solo that is simply the best ever, a tad lightweight but the bombast via the trumpet sounding synthesizer brings the pulse back to home base, Reeves shepherding the crew magically. The next one is perhaps a bit corny but I love a good romantic tune with symphonic dressing, so 'In the Night' delivers the raw emotion in spades, enhanced by some stellar e-piano work that flutters beautifully, paving the way for the cheese factory voice to be sure but Young can sing with the best of them. I love that lounge/blues/jazz feel, I admit it's an acquired taste but I like Sade, so give me a break! What gets me is that unique guitarsynth patch and the bluesy sway. 'Bedside Manners are Extra' is the title of their second album (1973) and has a playful aura, nothing too cerebral but still chock full of mellotron waves in the old Genesis fold that just veers into a country-style piano romp, with a cool Young vocal. Refreshingly amusing. 'Joie de Vivre' is a lust for life piece off the otherwise dull 'Spyglass Guest' album, an epic 11 minute + keyboard showcase, where both the boss and Young get to try out all kinds of ivories. This is a more buoyant example of their unique legacy, a 'no guitar'/2 keyboardist attack that is quite rare in the music world. Lots of soloing here when Young ends his singing parts, both taking turns at ravaging their set-ups, screeching sounds tortured by deft fingers (a Moog solo to knock your jaw off!). Fun! 'Spirit of the Dance' is a bubbly finale overflowing with eclectic organs runs, a bold bass cutting through the waves, a good time to be had by all and superb playing by all musicians, a fascinating farewell.

The less interesting and predominantly vocal 'oriented tracks are interspersed with these extended pieces. The 1973 'Feathered Friends' is lovingly reworked with some sensational singing by Young as well as that pseudo sax synth solo that is utterly cute. 'No Room 'But a View' and the previously unreleased but poignant 'Whenever I Go' are shorter and more accessible ditties that are still miles away from being radio-friendly pap. Kind of idiotic that this is actually destined to please keyboard fans but I just follow that maddening bass and really get off on Reeves' talent. A very, very pleasant live album that is perhaps their finest recording ever. This is the place to start (at the end?). Oh well!

4.5 Jade slaves

Joie De Vivre

Having released four studio albums in the 1970's, it went quiet from Greenslade. Dave Greenslade released some solo albums in the meantime, but not until the year 2000 did Greenslade (the band) return with a new studio album: Large Afternoon. After that, they went on tour and recorded this live album, subtitled The Full Edition. It is a disc packed with music, featuring songs from all of the Greenslade albums. In my view, it is the best Greenslade release full stop.

It is sometimes remarked that the vocals were a weak aspect of Greenslade's earlier albums. Here the lead vocalist is John Young, who also doubles on keyboards. Young is a much more "conventional" vocalist and I think that he really lifts some of these songs, even though I would say that the originals had a certain charm as well. Young sings songs like Feathered Friends and the title track from Bedside Manners Are Extra very well, even if they were never big favourites of mine. The rest of the band here consists of John Trotter on drums and Tony Reeves on bass, both also doing an excellent job.

While the presence of so many songs from the comeback album Large Afternoon may put some fans of classic Greenslade off, in my opition Cakewalk, On Suite, and the title track are in the style of, and up to par with, the better of classic Greenslade material. No Room - But A View and In The Night, however, are more towards soft Rock and the lyrics are rather prosaic. The song Wherever I Go is in a similar, ballad style, but I don't know where this song is taken from. Taken on their own these songs are nothing to get too excited about, but within the context of the others they bring diversity to the proceedings and don't bring the album down.

Nobody can deny that it is great to have some of the band's best numbers on one and the same album. Catalan from Time And Tide, Spirit Of The Dance and Joie De Vivre from Spyglass Guest, and Sundance (from the self-titled debut) are great. Catalan in particular is here improved over the studio version.

The set may not be exactly what you want, but it is an excellent representation and I have returned to this live album again and again whenever I want to hear some Greenslade. Fans of keyboard-dominated progressive Rock everywhere (even by those who were not too impressed by the group's 70's albums) should check this excellent release out.

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