Tag: Alan Reed

Review – PALLAS: EYES IN THE NIGHT – THE RECORDINGS 1981 – 1986 – by John Wenlock-Smith

I am definitely of an age where technology is not especially my friend. I recently bought a new phone that, a month on, I am still barely scratching surface of what it can do and with music, whilst I appreciate the ease and speed of downloading, I can’t help but miss actually getting a physical copy of the music on CD and reading the credits, booklet lyrics et al. For me, at least, the CD is definitely still very much alive.

Which brings me to this set of the early EMI recordings by Scottish proggers Pallas who, at one stage, held the prog flame alive, along with Marillion, Twelfth Night, IQ and Pendgragon, all of whom initially had major label input and support. Pallas were probably the unluckiest of the bunch though as they underwent major changes and trauma’s during their tenure with EMI.

Their journey starts in this collection with ‘Arrive Alive’, a recording that was originally released independently on cassette and which, for a low key cassette release, was actually very good. It did later get a vinyl release but here it gets both an updated sound and is also accompanied with the original 7 inch single version of Arrive Alive and it’s B-side Stranger on the Edge of Time. This is vintage Pallas where you can hear their intent and their promise. Stage favourites like Arrive Alive, Heart Attack and Crown Of Thorns (my favourite Pallas track) are all here in good solid live versions and, as an opening disc, this is very strong and satisfying indeed, neo-prog seldom sounding so good. Disc 2 is a collection of tracks recorded at various BBC shows, including the Friday Rock Show recordings, it also includes Paris Is Burning and the infamous The Hammer Falls. Make you own mind up about this track but my verdict is underwhelming at best, good live tracks from the Reading Festival and the live BBC session do both impress though.

Disc 3 is their EMI debut ‘The Sentinel’, which was issued in 1984 and contained merely six tracks, bolstered here by both Eyes In The Night and Shock Treatment and other tracks which make up the bulk of the later issued InsideOut version of the album, which has all ten tracks as we get here. The album was decidedly different from what was originally envisaged which was a suite about Atlantis. The final album only had a few of those intended tracks on it, the others were lost as a result of EMI’s reluctance to issue a whole Atlantis concept piece, although segments have appeared on various other releases. Disc 4 gives us the US remix version of the original album. Again, you can make your own mind up about this, personally I think it’s okay but adds very little to what we already know.

Disc 5 gives up ‘The Wedge’ and ‘The Knightmoves’ EP, from 1986 and 1985 respectively, both of which are very good and, even though Pallas were trying for a new more commercial sound, the material is still very progressive and strong. These recordings featured their new vocalist Alan Reed who replaced Euon Lawson after the disappointing experience of ‘The Sentinel’ album and all the issues the band faced as a result. The quality of their material is seldom in question here nor are the performances. What we have with Pallas is another case of record company interference and misunderstanding of exactly what they have signed to their label. It’s happened many times over the years along with the hit single dilemma that has faced many bands over the years, with Pallas being no exception. What was worse for the band though was that EMI pulled tour support midway through ‘The Wedge’ tour, leaving the band stranded and on the verge of imploding. The fact that they survived the ordeal and decided to walk away from a major label in order to embrace being independence once more again is testament to their spirit and integrity and these valuable recordings offer ample proof of that.

Whilst this set is not cheap, it does offers a fair package to all listeners along with a Blu-Ray of a London show from ‘The Wedge’ tour, there is also a live show from Aberdeen in October 1985. In all, it’s a big yes from me and a very interesting and informative booklet completes this set to the usual Esoteric high standards.

Released 28th June, 2024.

Order from Cherry Red here:

Pallas: Eyes in the Night – The Recordings 1981 – 1986, 6CD/Blu-ray Remastered Box Set (cherryred.co.uk)

Review – Pallas – The Messenger

‘The album that many believed would never be made, is here. And it’s about to blow your socks off!’

Forty years ago a band from Aberdeen recorded, not one, but two of the seminal albums of the 80s.

Now the classic Pallas line-up returns with ‘The Messenger’, an album which takes the preoccupations of that earlier age, and brings them right up to date. Where ‘The Sentinel’ echoed the concerns of the cold war and the shadows it cast on all of us, ‘The Messenger’ finds the band reacting to the existential threats to the world we find ourselves in. From what we’ve done to the world, to the politics that shape it.

This is an album which repays countless listens. With ‘The Messenger’, Pallas have created a rich musical tapestry which weaves back and forth from environmental concerns to a cold war grown hot once again. And the seeming inability of our leaders to do anything but pour fuel on the flames.

Capturing the bleakness that many of us feel at how the world continues to turn, it nevertheless contains hope. Alight in darkness, that all may not be lost. There is no outside help. No Sentinel to save us. This time the solution lives within us all.

Pallas have managed the seemingly impossible. – updating their sound without losing track of what gives them their identity. This album is dark, yet uplifting; It rocks out, yet has moments of tenderness and wonder. This is, without doubt, the album of their career.

There are some pretty bold claims in the above PR blurb that came with this, Pallas’ first new material for nearly twenty years and what could be a rebirth of one of the seminal Neo-Prog bands of the 80’s. Well, I am here to tell you why everything that is said about this new album is absolutely, 100% spot on!

From its bold, striking artwork to its immersive and eminently thoughtful songs, ‘The Messenger’ may be one of the most impressive albums that you will have heard over the last few years. It may be what seems like a musical eternity since the original line up of Pallas released any new music but it is as if they have never been away. Musicianship that is as tight and impressive as anything you have ever heard and superb, intelligent and earnest songwriting, coupled with Alan Reed’s mighty vocals, have created a piece of highly prominent musical drama that will leave you hanging on every note and every word.

From the opening dynamism of Sign of the Times it is evident that these musical troubadours have a dire story to tell. The impressive guitar work of Niall Mathewson is evident at every turn, allied with the subtle keyboard skills of Ronnie Brown, to give a driving life force to the music, one that is echoed by the superb bass work of Graeme Murray. This is all topped off with the charismatic and compelling voice of Alan Reed, as an opening statement of intent, it doesn’t get much better than this. Power and control, that’s what you get from the energetic The Great Attractor, pure bombastic theatre in musical form. A staccato riff hewn from granite and thunderous bass give an aggressive vigour to this strutting song and the vocals have a neat precision combined with a subtle arrogance, all told it is a mightily charismatic piece of music. Fever Pitch opens with a glorious piano led intro before a choral vocal gives an impression of something rather celestial. A hammering riff and drumbeat then arrive to give urgency to proceedings before the mystery unfolds. Alan’s inquisitive vocal draws you into the story that is opening up before you, it’s very clever and immersive songwriting and has a touch of musical theatre to it, like a prog rock version of Les Miserables maybe? A towering riff and demanding keyboards take up this entrancing tale of the harm our planet is going through and we should all really take note.

Heavy Air is a brooding song full of anticipation and apprehension, a storm is about to break and it is one that could herald the end of civilisation. The music has a feel of painful tenderness and Alan’s melancholic vocal conveys a light glimmer of hope that is gradually fading away. It’s a very emotive and heartfelt song with a powerful guitar solo just dripping with pain and regret and one that touches you at a very basic human level. A post-apocalyptic world is set out in front of us in The Nine, a potent foretelling of what our world could become, prophetic in nature and incredibly potent and compelling in intent and delivery. Like a sound track of dark, cinematic foretelling, there is an intentional bleak and sombre feel to the song, it demands your attention and insists you take note of the story unfolding in front of you. The sinuous, sinister guitar solo and stygian chants lay your soul bare. It’s a brilliant, if difficult listen and one that leaves you open-mouthed. The album closes with the epic title track, The Messenger, an end to what has been a dramatic and ominous journey towards oblivion and the end of the world as we know it. Could there be hope in the stars as our planet heads towards destruction? An electronic beat, almost dark synth-wave in composition, gives an off-kilter feel to the song as it begins before a wistful acoustic guitar and string like keyboards give an almost hopeful edge. The song ebbs and flows brilliantly, pulling you this way and that and the stirring vocals and irresistible guitar are just sublime. The uplifting ending makes me feel that here is something almost quasi-religious about this song as it talks about jubilation and a world reborn, maybe the creator hasn’t quite finished with us just yet…

Like a Phoenix risen from the ashes, with ‘The Messenger’, Pallas have returned triumphant with an incredible album that is so much more than a mere musical experience, it is a hugely compelling glimpse into what our future could be, delivered by four musicians who are truly at the top of their game and, surely, have much more still to give.

Released 15th December, 2023.

Order from bandcamp here:

The Messenger | Pallas (bandcamp.com)

Review – Abel Ganz – Gratuitous Flash (2016 Remaster) by Progradar

I’m not always sure that you should revisit the past, sometimes it isn’t as you remembered it and quite often not in a good way at all. However, in music, going back and remastering an album using modern technology can often add a lot more to the original production (the opposite can also be true but that’s for another time).

‘Gratuitous Flash’ was the first album released by seminal Scottish proggers Abel Ganz and was originally recorded in 1986. After the passing of thirty years the original line-up got back together to remix/remaster the release at South Park Studios in Glasgow. It has been remastered with some additional instrumentation by Hew Montgomery, co-founder of the band and keyboard player until 2007. He is joined, once again, by Hugh Carter (bass, flute & bass pedals), Alan Reed (vocals and Reedotron), Malcolm McNiven (guitars) and Ken Weir (drums and percussion).

The whole mix has been given a very slight clean up but this was kept to a bare minimum.

“You left school at seventeen, you never were the intellectual…”

A song about never growing up and never quite fitting in with your peers at school.

The opening track, Little By Little, gives a huge dose of nostalgia as the keyboard intro sends you rushing back to the 80’s. It’s a song that has an immediate hold on you with the intricate guitar playing and superb keys, the percussion and bass driving the track on. The extended instrumental opening has a really upbeat vibe to it, blending the original music well with the new remastering. When Alan’s vocals begin they are crystal clear and you become engrossed in his lilting tone, seemingly telling you a tale from his youth. It’s like Marillion but with added doses of humour and humility. I never heard the original but this new version doesn’t have me yearning for the past, I’m just thoroughly enjoying what I’m listening to now, including a fiery guitar solo from Malcolm that takes flight with a mind of its own and Hew’s elaborate keyboard playing.

“Have you ever had a day when someone smiled, suddenly you’re feeling much older than today.”

A song about the frustrations of growing old and realising that love is passing you by.

A nicely strummed guitar opens You and Yours and is rapidly joined by the soaring keyboards and superb rhythm section before Alan’s distinctive voice joins in with not a little passion. There’s wistful, almost regretful tone that runs throughout the song and that 80’s neo-progressive sound is as strong as ever, yet brought up-to-date by the considerate remix. Hugh’s elegant bass is particularly outspoken on this track and works well as the metronome in the background. Another fluid and effortless song that has a wistful edge as the story unfolds before you. The polished instrumental sections work exceedingly well within the rest of the track and showcase just what great musicians these guys were (and still are!).

The Scorpion is an instrumental track that was unashamedly inspired for Hew by the playing of Don Airey in his Collosseum II days. it has a particularly grandiose opening before racing off with Hew’s keys and Malcolm’s guitar trading fiery licks and blows along the way. I’m sure Hew should be wearing the archetypal prog-cape as his fingers fly across the keys. Ken’s powerful and quick fire drumming is at the heart of the mix and the whole song has you feeling like you’re on a helter-skelter as Malcolm’s aggressive guitar takes centre stage for a moment. It’s the keys that are the focus of this dynamic and compelling instrumental to my ears though.

“Gets up every morning, at the crack of dawn, fix your working clothes, put your working smile on…”

A song written for someone that Hew worked with years ago whose name was actually Irene Kean and was always happy and enthusiastic about her job.

An emotive piano opens Kean on the Job with some laid back percussion adding to the atmosphere. There’s a whimsical tone to the music as it builds up the song. Alan’s earnest vocal takes up the tale and I’m pretty much engrossed from the first word. The chorus rapidly becomes an addictive earworm that I find myself humming all the time, in fact the whole track stands out on what is becoming a superb album. The tastefully played guitar and classy keyboards add even more gloss to the delightful narrative, all in all a rather excellent song.

“I wrote the song, for the radio, the words reflect the way I feel.”

A song dedicated to a journalist who, in the early eighties when he was a young lad working for a local newspaper, took great delight in making barbed comments about the music of Abel Ganz.

Another energetic and impellant track, title song Gratuitous Flash opens with a charismatic instrumental section with driving guitar, an ebullient rhythm section and compelling keyboards combining with irresistible effect to give a potent feel to the track. As the pace slows Alan’s characterful vocal recounts the details in a measured and distinctive manner, a strong 80’s neo-progressive overtone at its heart, Hew’s swirling keyboards closing out the track in dramatic fashion.

“He was only a boy of six years old, playing kids’ games on a frozen lake. But he ventured too close to the hockey match; that was his only mistake.”

Sometimes there are just some moments that inspire you to write music… and this is definitely one such moment. Inspired by the wonderful saga of Johnny Smith, it’s one of these songs that Hew always felt really satisfied with (although he also felt that there were a few spaces that needed to be filled just a bit, and the remix gave him the chance to do exactly that!).

A genuine epic, coming it at over 16 minutes, The Dead Zone is one of those tracks that has so many facets that just fit together perfectly. Quite a mournful song at times, especially the opening with its serious and ominous mood, it has a definite gravitas and pathos at its core. The sincerity in Alan’s voice is there to be heard and the exemplary musicianship fits the developing mood perfectly. An all encompassing and absorbing musical experience that seems to fill your whole being with its sentiment and poignancy, a piece of music for late night listening with the lights down low and a glass of your favourite tipple in your hand. Even running into sixteen minutes plus, it is such a gripping song that it never outstays its welcome as the music and lyrics absorb you throughout.

Newly added to this 2016 remaster of ‘Gratuitous Flash’ is Alan Reed’s solo reworking of Kean on the Job. Hew says, ” It’s a beautifully laid back way to end this album…” and he is 100% right in that assessment. A deliciously chilled out and easygoing rendition that flows in an undemanding manner. The capricious instrumentation is jazz influenced and it’s a warming and grin inducing way to close out this musical experience.

For those that have the original in their collection there is absolutely no reason not to upgrade to the 2016 version. A considerate and well thought out remix and remaster has brought out even more layers and given it a well deserved new lease of life. For those who have never heard the original then please purchase this modern take on a classic. Neo-prog doesn’t get any better than this with intelligent and humorous songwriting coupled with excellent musicianship to give a listening experience like no other.

Released 8th May 2017

Buy ‘Gratuitous Flash’ on digital from bandcamp

Buy ‘Gratuitous Flash’ on CD from ProgRock

https://www.youtube.com/watch?v=e_tboC1BRLI

 

 

 

 

Review – Alan Reed – Honey On The Razor’s Edge – by Kevin Thompson

Meteorological Spring is in the air and there is a buzz around the Progressive music scene which is currently a veritable hive of activity.

Music in general has seen an influx of singer/songwriters, some more of the worker bee type, scattered like pollen among the genres and trying to stick to a secure career, whilst others clearly stand out from the crowd as prime males with honey sweet tunes fit to serenade a Queen, the two recent releases from Marc Atkinson and Lee Maddison being fine examples.

Into the honeycomb flies Alan Reed with sophomore album ‘Honey On The Razor’s Edge’ and this time there’s a grittier, more assertive edge reminiscent of his work with his previous band and with echoes of solo outings by a certain fellow Scotsman nearing the twilight years of his musical output.

I have to admit that whilst I like Alan’s first solo outing it felt like it didn’t have his full confidence and was maybe reflecting in his situation at that time. With this album there is no hesitance and it’s straight in with up-tempo rippling keyboards and electric riffs on first track My Sunlit Room. Alan sounds in fine fettle blowing away any faint concerns as his vocal pipes dance a highland fling through the melody in this rousing starter that crashes to an end.

Now I mentioned another of Alan’s fellow countrymen and I have to say the main riff on Razor is very reminiscent of his output, but Alan adds his familiar style and harmonica flourishes (courtesy of  a certain Mr Steve Hackett no less), as he argues with himself and exorcises demons. There is a great video release of this track on YouTube to enhance your listening pleasure on which Alan shows he’s moving on not looking back. My inside sources tell me he may have had sore skin after filming numerous takes for the video. Ah, the sacrifices a man makes for his art.

Cross My Palm with silver and I’ll be only too happy to tell you this is a man who is not sitting on his laurels as he warns of treachery in the big smoke, but there’s no need to worry,  with some nifty guitar soloing from Jeff Green and the keyboard flourishes of Mike Stobbie building to a crescendo finish it’s another belter.

Notable for their relegation until now, up pop the familiar acoustic strings on Leaving (no cause for alarm, he’s not just yet) as vocals wrangle, with lovely female harmonies on the chorus, over a twisted relationship. Now I might be mistaken but ageing ears cannot distinguish whether this track is bolstered by the stunning sound of the one and only ‘Leode’ from none other than Lazuli’s Claude Leonetti or an Ebow, either way c’est formidable.

I must also point out that Alan has an enviable trio of fine female singers assisting him on this album in Magenta’s Christina Booth, Harvest’s Monique Van Der Kolk and Weendo’s Laetitia Chaudemanche adding the cream on top of some tracks here, giving him vocal riches beyond avarice.

Not content to let the lady leave he begs she stay to the Other Side Of Morning, as he reasons with her over their differences and similarities, the good must surely out-way the bad times and Mike gets to bare the whites of his keyboards as stalwart drummer Scott Higham more than ably keeps the rhythm and beating heart of this track pumping, as he does throughout the album. This, the longest track on here builds to a fevered climax that is completed with one last gasping ‘stay’.

History lesson time, as this next track is about The Covenanter. Covenanters were Scottish Presbyterians who in 1638 signed the “National Covenant” to uphold the Presbyterian religion, and the “Solemn League and Covenant” of 1643 which was a treaty with the English Parliamentarians. The Covenanter’s made a stand for political and religious liberty that led to almost a century of persecution and their widespread migration to Ulster and the American colonies.

But their role in history was not as simple as that, as they were the children of the Protestant Reformation in Europe and sought to have the church of their belief, according to the Scriptures. Above all, there was but one Head of the Kirk – Jesus Christ, and they refused to accept the King in that role. From this opposition to the King all their troubles arose. Ushered in by the sounds of unrest, Alan protests with righteous indignation and berates the persecutors and liars throughout, casting light on Celtic roots at the heart of much of Alan’s musical heritage.

Alan is a gifted poet and romanticist, with the ability to touch the hardest of hearts, as on the penultimate track, recalling a love lost who ‘looked at me, like I Used To Be Someone. With  a   beautiful instrumental introduction and beat me with a haggis if I’m wrong but it may just be flowing from the lovely ‘Leode’. Tinkling ivories and guitar loops sway like smitten lovers on the dance floor in time to Alan’s lyrics. For me he never sounds better than on tracks like this, as the emotion he injects into his voice feels so genuinely heartfelt. The music swells and the wonderful sound from the beginning floats in again before the vocals tug gently at the heartstrings one last time to float delicately away on fading notes.

Alan’s work may take him away from his homeland, but whilst you can take the wee laddie out of Scotland, you can’t take Scotland out of the man, as he looks to the Northern Light on the final offering of wistful musicality which midway through turns into an instrumental clash of clans before the keyboards kick thistles into the faces of the rest and triumphantly lead us out.

This is an album through which threads of tartan tinged tunes dance a merry jig with modern rock forces, and Alan has surrounded himself with an array of accomplished musicians to enhance the tunes pushing him firmly to the fore among his peers. I mentioned a certain fellow Scot earlier and Alan’s physical stature may not match the  Big Man’s but this album proves he could well fill  upcoming vacant boots.

Having had the great pleasure of meeting Mr Reed a couple of times he is a most affable chap, always willing to take the time to chat. Whilst in conversation with one of his colleagues on this album,he was described as very difficult to work with, but it was said with a wry smile and bundles of affection, because that’s the effect he has on you.

Alan is one of the nice guys in this business and he deserves every success with ‘Honey On The Razor’s Edge’, it’s a braw album. Slange!

Released 14th March 2017

Buy ‘Honey On The Razor’s Edge’ from The Merch Desk