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Alan Reed - Live: From the Razor's Edge (with The Daughters of Expediency) CD (album) cover


Alan Reed


Crossover Prog

3.91 | 2 ratings

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4 stars Every proghead has his own, very special magical progrock concert moments. For me that is back to 1986, Paradiso in Amsterdam: during the closing section of Atlantis by Pallas, when the singer (supported by majestic Mellotron choirs and deep Moog Taurus bass pedals) raises his hands in the air, he has become the neo-prog messiah who is guiding his mesmerized fans to Neo-Prog Heaven, unforgettable! Well, that singer was of course Alan Reed, at about 30 years later he played live again, with his own band, for him Pallas is history.

The tracklist on this live album contains three Pallas compositions and six songs from Alan Reed his two solo albums, First In A Field Of One from 2012 and Honey On The Razor's Edge from 2017 (featuring Dutch Monique Van Der Kolk from Harvest and Steve Hackett). On both albums Pallas member Mike Stobbie played keyboards, but not on Live : From The Razor's Edge, here it is Tudor Davies, an excellent choice!

To be honest, I was not familiar with Alan Reed his solo albums, a Dutch friend recommended him to me, because he knows I like his voice in Abel Ganz and Pallas very much. Well, listening to this live album I got more and more impressed. The nine compositions alternate between varied melodic rock and neo-prog. But Alan Reed his music also evokes early PeterGabriel, not as a copycat but the way he creates different atmospheres, in which he uses his passionate vocals and he colours the music wonderfully with keyboards and guitars. Especially in Razor: an ominous climate with catchy guitar riffs, powerful vocals and a bombastic final part featuring a synthesizer solo and howling electric guitar, very compelling! His dramatic and distinctive voice fits perfectly in the songs that change between mellow and bombastic, with a lot of tension. Like in the Pallas track For The Greater Glory (great guitarwork that translates the madness and sadness of war) and Kingdom Of The Blind (varied keyboards and emotional vocals). In the long track The Other Side Of Morning you can enjoy that very beautiful colouring of the music: mellow with warm piano and vocals, a mid-tempo with flashy synthesizer flights, a catchy rhythm with mighty Hammond organ runs and a sumptuous grand finale featuring Alan Reed in his full splendor!

And then the two other, epic Pallas compositions, Alan and his band succeed to generate a sound that comes mighty close to that exciting Pallas era. In Sanctuary: long heavy guitar solo, glorious Mellotron choirs and a superb grand finale with again Alan who shines. And in the closing track Crown Of Thornes: from tender to bombastic and another compelling final part, goose bumps!

That very good friend (or: thanks Wilco!) who recommended me Alan Reed his solo music, recently visited an Alan Reed concert in Holland. He was euphoric about that gig and I am a bit jealous, what a very good music, with passion and skills, highly recommended!

TenYearsAfter | 4/5 |


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