ALAN REED

Alan Reed (known as the former lead singer of Pallas) returned to the progressive public with this release from 2012. This very well produced and great sounding record is a mixture neo prog and adult oriented eclectic poprock. The instrumentation is varied and has some prog sophistication, but atmospherically the album never gets very complex. Alan Reed has a beautiful voice and as a fan of Pallas you are almost certain to like his singing and songwriting on this record as well. The album doesn't have weak points and because of the musical variation it remains entertaining throughout. For instance, the opening track has modern folk influences (to the point of sounding a bit like a travelling commercial) and the last track sounds a like a jazzy cabaret song. Though I miss the seriousness of the full blown neo prog experience, the poppy moments of this record are quite nice. The guitars sound very epic on this record as well. 'First in a Field of One' is slightly more consistent than its follow-up. I'm going with a 3,5 star rating here.

Alan Reed was the singer of Pallas during its glory days around the turn of the century. I've gotten quite fond of his sentimental voice and powerful, yet whimsical way of singing. On his second solo album we hear a type of crossover prog that is part pop-rock, part neo-prog. The record has an outstanding production sound and the first three tracks are really good. 'My Sunlit Room' has great synth works and counter melodies. 'Razor' has tribal rhythms and a nice suspense, the poppy vocals really shine here. 'Cross My Palm' is a great slow burner with strong guitar lines - perhaps the song that sounds most like Pallas. The fourth song 'Leaving' is an acoustic ballet type song and here the pop elements get a bit too cheesy for my tastes. I just don't believe the in honesty of a chorus like that. The nine-minute song 'The Other Side of the Morning' is again very mellow, the opening reminds me of Genesis' acoustic tracks like 'Cinema Show'. With a little less feelgood moments this would have made a nice track, the ending section is quite impressive. Towards the end the album the pop elements keep disrupting my enjoyment, though the rockin' 'The Covenanter' has a nice original up-tempo flow to it. Had the album kept up the level of the first three songs - which you should add to your playlists - I would have given it four stars for sure. Recommended to fans of Pallas, crossover prog and the lighter side of neo prog.

Having been impressed by Alan Reed and co. watching them on stage last year, I listened with interest to his second solo release. The energy that he brings to stage can be also found in the studio recordings, be it in the form of a powerful riff, an inspired keyboard line or an emotional ballad. Although contemporary in sound, ''Honey on the Razor's Edge'' brings with it a strong 80's resemblance to artists such as Peter Gabriel or David Sylvian, an alternative rock vibrato and late 90's Porcupine Tree and Arena heaviness. Alan's unique, theatrical singing makes the album quite different from many ''crossover'' prog releases, despite it being fairly accessible as a whole. It is quite difficult to compare this album directly to anything else I have listened to recently, while still honouring standard Neo-Prog ingredients (mainly on the keyboards) and more contemporary folk references in the vein of Karnataka (''Used to be Someone'', ''Northern Light'').

Absolute stand-outs are ''Cross my Palm'', which reminds me of Queensryche's 'Rage for Order' innovative tempos and ''The Covenanter'' with excellent percussion. The honey of the album is in the middle part; the beginning and ending stand well on their own but do not contain as equally impressive ideas.

This is a near-excellent release and something different out there that deserves your time. 3.5 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!

It must be nearly 25 years since I first came across singer Alan Reed, probably with Clive Nolan's project 'Strangers On A Train', although it could have been Abel Ganz. This far along it's difficult to be sure. Alan of course made his name with Pallas, with whom he was frontman for more than 25 years, but he has always kept working with Clive as well, and earlier this year took one of the lead roles on 'King's Ransom'. The album starts with a strong keyboard pattern, and my immediate thought was, "Surely that's not Mike Stobbie?", but yes, it is, and a quick check of the musicians saw some other very well-known names such as Jeff Green (guitars), Steve Hackett (harmonica), Scott Higham (drums) and a few guest singers such as Christina Booth from Magenta.

There will be many who will be bundling this album into the neo prog scene, but his place in that sub-genre is probably more due to history than it is to the reality of what is featured on this album which sits best within crossover, moving between genres but always providing plenty of melody. One of the real joys of this album is that it doesn't seem like a solo album, but like a band effort, with Jeff in particular being given plenty of room to show his style. But, it's not all bombast, as Alan has a deft touch on guitar himself, and when the fancy takes him, shows a far more pastoral side. This is an album of great depth and breadth, and at the very heart are the pure clear vocals of Alan, capturing the listener and taking them on a journey. I enjoyed his solo debut, but this follow-up contains far more powerful and strength within it. Superb.

Scottish composer and musicians Alan REED is best known for his 24 year long tenure as the front man for progressive rock band Pallas, a tenure that ended as abruptly and surprising for Reed himself as for fans of the band if my memory serves me well. Since that event a few years back Reed has launched a solo career. "Honey on the Razors Edge" is his second solo album, and was released through UK label White Knight Records.

Fans of progressive rock in general and neo progressive rock in particular should take note of this easy to like and very well made second solo effort by Alan Reed. While I find the subset of progressive rock explored to not be limited to neo progressive rock as such, and some songs may have something of a more mainstream touch to them too, I rather suspect that the key audience for Reed as of 2017 will be those whose taste in progressive rock tends to hover around the neo progressive landscapes. A strong album though, and one that warrants a check by those who tend to enjoy the more accessible parts of the progressive rock universe in general.

Alan Reed releases his second solo album, Honey On The Razors Edge, and a mighty fine work it is, too. The former alumni of Pallas and Abel Ganz proves beyond doubt that he is capable of producing music that is relevant and vital to the genre we love, as it continues to grow in the 21st Century.

A word of warning. This is not a traditional neo prog album, by any stretch of the imagination. It is far more than that. It is the sound of an artist determined to grow beyond his roots, and with the capability to surprise, as well as delight us.

The album cover itself gives us a clue as to what follows when the disc is inserted into the player. Spartan, yet majestic in its simplicity.

Reed has assembled a very capable group of collaborators to share his vision, and I especially enjoy the contributions of Scott Higham on drums, whose work with Pendragon was superb, and the gorgeously talented Monique Van Der Kolk, with backing vocals returning the favour Alan did her excellent band, Harvest, who I have championed on this site. We also have a turn by Steve Hackett & Christine Booth, amongst others. A very special mention is due to Mike Stobbie on keys, Reed's old bandmate, whose layers are extraordinary.

The album bookends, My Sunlit Room, and Northern Light, are, perhaps, about the most recognisable blasts from the past. The opener fairly races along, and most reading this review would recognise immediately the need for a bolt hole from the pressures of modern life, a sunlit room where one can be oneself in peace. The album closer, Northern Light, transports you to a Scotland, Nordic lands, and Europe we share and hope will bring us together in troubled times, and the wall of sound is reminiscent of days of Pallas yore. Razor is a dark, edgy, affair, but the album really comes alive with a blast of sound in Cross My Palm, full of screaming guitars and lush sounds. There is also a good, old fashioned, rocker in The Covenanter. Stobbie is exceptional on this.

The star, though, throughout, is Reed's voice. Leaving is a track which demonstrates this to great effect. There is a fragility in this track, with Reed and backing vocals putting together a piece with fantastic keys and pipes effects creating a lush Celtic vision of love and separation. This theme is continued, beautifully, in the words, music, and themes, of a love in danger of exploding into war, The Other Side of Morning. This is intelligent rock music, featuring a heavy bass lead overlaying keys, Higham's drums, and acoustic guitars creating an emotional nine minutes of music. At the heart of it, as with all of the rest, is Reed. As much as I love his music with his former bands, I truly believe he has taken his song craft and vocals to a higher plain on this work. There is also one thing for sure. Personal experience is at the core of this, as with the best songwriters works. The contrasting moods are a joy to listen to.

However, all of the above utterly pales into insignificance when Used To Be Someone fills your senses. If I hear a better track in 2017, then it will be a damned special affair. Celtic, emotional, lush, full of crackling sound and emotion, this is so achingly beautiful as to defy mere words. When I first played this a couple of weeks ago, my wife came into my study, stood listening without a word, and, when the last notes had disappeared into the ether, informed me that this was one of the most lovely songs ever. It really is so achingly beautiful, and Reed sounds so fragile over a lilting guitar solo, before the track explodes into a rush of sound and emotion, as the story of a love thrown away takes you to a different existence altogether. Simply bloody wonderful, and quite staggering. Thank you, Alan.

I think this is the sort of album this website was born to highlight. Progressive music that will appeal to both purists and those, and there are many, who want a wee bit more than clever time changes, and think that artists who are progressive, should, ahem, progress. Alan Reed delivers, in spades, and I despair that it will never receive the attention it truly deserves. Treat yourself. It is available via Caerllysi Music, and well worth your ten quid.

Four stars for a fine album, and highly recommended.

Alan first came to my attention when he started singing with Pallas, and then on the Strangers on a Train projects so I then worked backwards to discover his work with Abel Ganz and have always been impressed with his skills as a vocalist. Now, I'm not nearly as in touch with the UK prog scene these days as I used to be (I live on the other side of the world; that's my excuse and I'm sticking to it) but I was somewhat surprised to hear that he was no longer with Pallas, as his work with them was always of the highest quality. However, that is all in the past and now we have his first full-length solo album which see him reunited with keyboard player Mike Stobbie. Others taking part are Scott Higham (drums, percussion), Jeff Green (guitars), Kalle Wallner (guitars) and Christina Booth from Magenta on additional vocals.

It did take me quite a while to get into this album, not because it wasn't any good but rather because I wasn't quite sure what to expect but I was pretty sure that this wasn't it. In many ways this is a very laid back album with quite a folky element, almost as if Clannad have gained a male lead singer who has some prog influences combined with some Mike Oldfield. Alan is singing as well as ever, and this album is all about his vocals and being at the fore. It isn't nearly as complex or symphonic as I would have liked and possibly that is why it feels more of an opportunity missed than one taken.

"Teardrops In The Rain" is a great song that captures all that is good about the album, but is spoiled somewhat by an annoying drum pattern that I could have done without. Alan is one of the finest singers around, but while this is an enjoyable album I would much rather hear him belting out with a full prog rock band behind him.

I know of Alan Reed from Pallas, and I'd be the first to admit that I'm not his greatest fan. However, people were saying nice things about the album, so I thought I'd give it a go.

To be fair, I always expected a lack of musicianship to restrict the scope of Alan's ideas, but given the performances, this would be an unfair assessment.

If Alan had done a solo album, away from Pallas, then 'First in a field of one' is probably what it would have sounded like. Not as full-bodied as the real thing, but there are similarities.

The album starts off brightly, and there's a gorgeous bass pedal bit in 'Never too late'. But thereafter, and probably up until the pretentious 'Supper's ready' bit in the last track (The usual suspects), the interest wanes. Unsurprisingly, there's a hint of Celtic flavour in some of the music.

It's competent, but it's not a 'deep' listen. I admire Alan's 'get up and go' to even make the album, and it does suggest that he added good things to his former band.

Sanctuary (The Return)

Dancing With Ghosts is a five track EP that was Alan Reed's first solo release (after being sacked by Pallas, the band he had fronted since the 80's). It features acoustic versions of songs from throughout Reed's career, including songs he originally recorded with Pallas, Abel Ganz, and on his own. Sanctuary (The Return) originally appeared on 1986's The Wedge (the first Pallas album featuring Reed). This version is shorther and obviously simpler in its instrumentation. Who's to Blame? is another Pallas track, originally from the excellent The Cross And The Crucible from 2001. Next up is Kean On The Job from Abel Ganz 1984 debut album Gratuitous Flash. The final two tracks are solo numbers that later were re-recorded for Reed's full-length debut First In A Field Of One released this year (2012). Begin Again was substantially re-worked for that album, and this earlier stripped-down acoustic version sounds very simple by comparison. But it is an excellent song.

Taken for what it is, this acoustic EP is a pleasant listen, but almost per definition it is a release only for fans and collectors. (First In A Field Of One, on the other hand, is highly recommended!)