Mostrando postagens com marcador Greenslade. Mostrar todas as postagens
Mostrando postagens com marcador Greenslade. Mostrar todas as postagens
This is Greenslade’s apex, and I’m not alone in thinking this way. Some of the most prominent Greenslade numbers ever written are right here, and even the interplaying between all four musicians is tighter and more cohesive than in their impressive debut album. There is also a productive expansion of Greenslade's sonic pallet, due to the inclusion of synth (by Lawson) and an enhancement in the role of mellotron, a role that proves quite relevant in many passages trhoughout the album. Things get started quite smoothly with the namesake prog ballad, whose first lines on piano are almost exactly the same as the ones that marked the final passages in the debut album’s closing epic ‘Sundance’. Well, ‘Beside Manners…’ is less epic and more reflective, with an unmistakable touch of irony in both the lyrics and Lawson’s singing, particularly the sing- along choruses. The main basis played on grand and electric pianos is craftily adorned by mellotron orchestrations and successive solos on synthesizer and RMI electric harpsichord - not amazing precisely, but an attractive opener. Things really start to get typically Greenslade-esque from track 2. ‘Pilgrims Progress’ is one of the most emblematic instrumentals in Greenslade’s career, and also one of the finest Dave Greenslade compositions ever: its various effective motifs and contrasting moods fluidly interconnected, the powerful performances of a well adjusted ensemble, the colourful keyboard resources that are displayed with total splendour and excitement, never getting too obtuse, always keeping a clear focus on the melodic lines - all these things make ‘Pilgrims Progress’ the most outstanding number in the album. But the other two instrumentals are nothing to be dismissed, not at all. ‘Drum Folk’ gives room for an excellent two-part drum solo masterfully delivered by McCulloch (shouldn’t this guy be mentioned more often in prog forums and polls?), but there’s more to it than that. The introductory ethereal organ/mellotron layers prepare the path for an effective prog- jazzy main motif in which the Hammond organ and the electric piano complement each other beautifully, while the rhythm section keeps an immaculately pace for the complex time signatures. Between both parts of the drum solo, comes a captivating Pink Floydian slow section: the mellotron flute intro is simply delicious (somewhere I read that the mellotron flute is perhaps the most beautiful keyboard sound ever, and I do tend to agree every time I listen to this brief part of ‘Drum Folk’), and so are the organ harmonies added soon after, as well as the amazing RMI solo that emulates a bluesy guitar. The brief reprise of the main motif that serves as a coda ends the track with a proper sense of energy evidently developed in McCulloch’s featured interventions. While not being as cohesive as the aforementioned instrumental, its epic orientation is certainly well accomplished. The last instrumental is ‘Chalkhill’, written by Lawson and Reeves: similar in structure to ‘Pilgrims Progress’, it also captures the prototypical Greenslade sound at its best. The remaining sung tracks are also very effective and powerful. The blues- rock infected ‘Time to Dream’ and the jazzier ‘Sunkissed You’re Not’ are based on catchy melodies which are given an added touch of complexity through the use of clever arrangements and the layout of rooms for soloing. Excellent to masterful – 4 ½ stars. - Review by Cesar Inca (César Inca Mendoza Loyola)Track Listings
1. Bedside Manners Are Extra (6:16)
2. Pilgrim's Progress (7:12)
3. Time to Dream (4:46)
4. Drum Folk (8:44)
5. Sunkissed You're Not (6:27)
6. Chalkhill (5:24)
Total Time: 38:49
Line-up/Musicians
- Dave Greenslade / keyboards
- Andy McCulloch / drums & percussions
- Tony Reeves / bass
- Dave Lawson / keyboards
Releases information
LP Warner Bros WBS K46259 (1973)
CD Warner Bros 7599-26866-2
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Phew … Finally, I feel relieved that I got the CD version of this classic album which in a way has colored my childhood. I have been thus far holding a cassette version until last week when I visited one of local CD stores in Jakarta, I saw this under “Rock Legend” shelf. Wow …!!! What a lucky man I was. Even though I have been hearing “Feathered Friends” through classic rock FM radio station down here but I still want to have the whole album as this band was one of progressive rock icons of 70s. I fully agree with most reviewers that have said it like that. When I got this CD, I asked the store keeper to play it LOUD while I was continuing my search of other CDs. The crowd in the store was wondering “Oh, what music is this?” as previously the store played jazz music (uuuugghhh …!!!!). I don’t really care about it as I am the customer and I know that this band is so damn great! Pity them if they are at the same age with me but they don’t know about GREENSLADE???!! Come on! Where have they been? For sure, they are definitely not my friends because they did not prog during their teenage. When the CD was played at the store, I really loved the “sound” – it’s a very capped sound, I would say. The treble is not crispy or transparent, the bass is not that solid, mid range was a bit dull.. But, hey …that’s exactly what I want: they sound of seventies! Of course it’s way less superior than the latest prog recording. But I do even enjoy it, very much. When I hit the road, I played it again outloud in the car. Oh man …. what a great drive that evening. What a truly classic prog album! For those who like 70s prog and has not got this CD yet, BUY NOW man ….!!!!Feathered Friends (6:42) kicks off the album with relatively fast tempo style and very unique snare drum sound – it’s like Bruford’s or like other 70s prog band: ENGLAND. Keyboard dominates the melody as well as rhythm section, augmented with organ / mellotron. When vocal enters the music with “What’s your poison? Well here’s mud in your eye …” it has a killing melody especially when it’s combined with organ and mellotron sounds. The bass guitar also demonstrates its role with its dynamic sound especially during the singing part. I especially love the organ sounds with many catchy melodies found throughout this track. Also, the mellotron is performed excellently here. Vocal quality is top notch! Excellent composition. [*****]
An English Western (3:25) continues with a previous track style: energetic opening dominated by organ and dynamic drum work. The music represents an original Greenslade music: keyboard-based, floating melody with accentuation, weird drum sounds and good composition with some jazz rock influence. I like the combination of organ / keyboard work and dynamic drumming in this track. It’s an excellent instrumental track with relatively complex arrangements. [****]
Drowning Man (6:40) begins with a low register notes voice line – something unusual in Greenslade singing style. It even reminds me to the voice of Gentle Giant even though this track seems mellower than typical Gentle Giant song. The singing is augmented with excellent organ work and bass line. At the end of first lyrical part, the music flows in faster tempo and uplifting mood demonstrating excellent combination of organ sounds augmented with mellotron. Drums still demonstrate its Bruford’s sounds especially in the snare drums that keep the beats. The organ work really brings me back to the glory years of 70s music. Excellent. [****]
Temple Song (3:32) starts mellow with sort of jazz influence music, featuring ambient vocal and combination of great organ and solid bass lines. Vibraphone is used throughout this track. Keyboard / organ solo in the middle is backed up with some light orchestration. [*** ½ ].
Mélange (7:27) starts with an uplifting music with medium tempo/fast style and turns slower with mellotron sound and inventive organ work. Drums demonstrate its contribution with normal snare drum sound. What follow is a bass solo segment with its inventive play that forms a melody of the song. Other instruments fill the music to support bass guitar solo. Right before the middle of the track, the music turns quieter featuring bass guitar solo only. The other later half of the track demonstrates mellotron work by maintaining dynamic bass guitar play and the snare drums sounds return to Bruford’s like. [****]
What Are You Doing to Me (4:40) opens with organ work in relatively fast tempo style followed with high register notes singing. It’s very Greenslade, sound-wise! Structurally, it’s relatively a straight forward track – however, there are some nice transitions, e.g. the inclusion of mellotron between musical segments. [****]
Sundance (8:45) starts mellow with piano work with some influence of classic music.What follows is an upbeat music demonstrating great keyboard / organ. With dynamic drumming. Again, the bass lines are really great even during the organ solo part. This instrumental track offers some variation of styles and tempo changes. The ending part brings the music to piano solo work as its opening. [****]
SUMMARY
For those who want to explore the treasure of 70s prog music, you should not miss this one. But for those who’s got used to recent quality of sound recording, you might regret hearing the sonic quality of this CD. But, the content (the music) is great. Keep on proggin’ ..!!!
Progressively yours,
GW
Track Listings
1. Feather Friends (6:42)
2. An english Western (3:25)
3. Drowning Man (6:40)
4. Temple Song (3:32)
5. Mélange (7:27)
6. What are you Doing to Me (4:40)
7. Sundance (8:45)
Total Time: 41:11
Line-up/Musicians
- Dave Greenslade / keyboards
- Dave Lawson / keyboards, vocals
- Andy McCulloch / drums, percussion
- Tony Reeves / bass guitar, double bass
Releases information
LP Warner Bros WBS K46207 (1973)
CD Warner Bros 7599-26812-2
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