The cover of Ten Years After's 1973 album Recorded Live depicts a giant reel-to-reel recorder, which certainly captures the era when this double-LP set was recorded. Approaching the end of their run – only one more album would come, 1974's Positive Vibrations – Ten Years After were deep into the thick of '70s arena rock, so everything they played on-stage wound up stretching well beyond the five-minute mark, sometimes reaching upward of 11 minutes…
Aside from a few minor differences, 1973's Bedside Manners Are Extra is equivalent to Greenslade's debut album, inundated with the same dazzling synthesizer work and atmospheric guitar implementations from Tony Reeves. Andrew McCulloch's drumming is a little more effective the whole album through, balancing out Dave Greenslade's keyboards and Dave Lawson's singing. The songs alternate from vocal to instrumental, beginning with the beautifully lush title track that exploits the ease in which Greenslade applies his techniques. "Pilgrims Progress" picks up the pace, with McCulloch and Greenslade wonderfully playing off one another. The eight and a half minutes of "Drum Folk" really opens things up, with the synthesizer switching to different tempos and brilliancies while McCulloch gets some well-deserved solo time.
Not long after the disintegration of Colosseum, Greenslade was born, with their inaugural self-titled album whetting the appetites of progressive rock fans worldwide. Dave Greenslade used the group to showcase his illustrious keyboard intricacies alongside Tony Reeves' bass guitar, Andrew McCulloch's predominant percussion work, and Dave Lawson's vocals, all of which made Greenslade a quintessential prog album. The attention almost never veers from David Greenslade's beautiful organ texturing, alternating between hard and delicate patterns while defining the album's pure progressive sound. Reeves' bass riffs are spatial and thorough, complimenting the keyboard runs when needed while falling in behind the music at the proper times.
Like any patchy but promising debut from a classic rock group, it's often easy to underrate Queen's eponymous 1973 debut, since it has no more than one well-known anthem and plays more like a collection of ideas than a cohesive album. But what ideas! Almost every one of Queen's signatures are already present, from Freddie Mercury's operatic harmonies to Brian May's rich, orchestral guitar overdubs and the suite-like structures of "Great King Rat." That rich, florid feel could be characterized as glam, but even in these early days that appellation didn't quite fit Queen, since they were at once too heavy and arty to be glam and – ironically enough, considering their legendary excess – they were hardly trashy enough to be glam.