Pallas – representing Scotland in the early Eighties Progressive Rock revival – collected works from the era.

Release Date: 28th June 2024

Label: Esoteric Recordings / Cherry Red Records

Format: 6CD/1 Bluray remastered box set.

How apt it is that this set has appeared at the same time as Andrew Wild’s book, A Mirror Of Dreams that charts the days of the Progressive Rock revival of the early 80s.

A NEW WAVE OF PROG

Just like the Wild book, Eyes In The Night takes a huge trip down memory lane as we take a tumble down the time tunnel with the Pallas recordings from 1981-1986 . A very thorough collection that incorporates the The Sentinel (in UK and US mix versions) and The Wedge albums and the Knightmoves EP from the Pallas studio work, plus live recordings from 1981, 1983 and 1983 plus BBC sessions, and it’s a wonderful and nostalgic trip.

So – Disc One travels back to 1981 when those of us who were there would have had Arrive Alive – the live recording – on a cassette tape as was the wont in the neo-prog era. The 2024 remaster of the Arrive Alive (recorded at the Bungalow Bar) might not be the most pristine hi-fi experience but is possibly the most authentic and thrilling part of the set given its context. I’m sure my old tape, Side 2 with Heart Attack and Crown Of Thorns must have suffered from the constant trauma of rewind and replay. We’re just missing the visuals which made The Ripper such a chamber of horror experience.

It sees the ‘classic’ line up of Graeme Murray, Niall Matthewson, Ronnie Brown, Derek Forman and singer Euan Lowson who are also featured in the second disc that gathers Palls Live at Reading 1983 and three tracks from the BBC sessions in 1984. Reading sees the quintet showcasing four numbers that would form the bulk of their The Sentinel debut album although by now the appearance of Arrive Alive as a moment that would see Pallas parking their Prog Rock leanings and rocking out – the lyrics suggesting it’s the obvious encore number (“we’re heading for home before the dawn comes“). Reading gets an extended version as the meat in an Atlantis / Ark Of Infinity bombastic sandwich, the latter in its most Doom Metal form, perhaps a challenge to the latest version of Sabbath who sat atop the bill whilst showcasing how tight a unit the instrumental quartet was in the middle section. The Friday Rock Show – always enthusiastic supporters of the latest wave of Proggers gets a nice segue from Rise And Fall into Heart Attack while the Atlantis sections are given a breather.

THE SENTINEL

However, Disc Three makes amends with the first of the two versions of The Sentinel that saw Pallas not just recirculating the live set but setting into stone new material. Having Yes producer Eddy Offord on board was a major coup and the new remaster focuses on collating all the tracks of the era (as did the 1992 reissue although the latter saw the full Atlantis sequence restored to the original plan).

Rise And Fall is retained as one track (split into 2 parts on the 1992 remaster) with its climactic finale typical of the grand gestures that appear all over the album – see the opening parts of Cut And Run and Shock Treatment. Both offer dramatic ‘concert opening’ styled intros and rushes of prog powered leanings with lashings of angry basslines and Dr Who synths. The highlight of course is one of the iconic ‘Neo-Prog’ (urgh!) landmarks in the triumphant Atlantis suite – all skies filled with strange birds, boiling seas, all the world joining hands (the first time since the world has begun) and thumping instrumental parts that saw Pallas sliding to the heavier side of the spectrum. Niall Matthewson occasionally slips into full Blackmore mode, adding not just melody and guitar histrionics but a genuine Hard Rock flair. And who can forget the spectacle of the stage shows with the ‘infinity tunnel’ where Euan Lowson would emerge in an elaborate Sentinel costume.

The UK mix includes additional studio tracks which appeared on various 12″releases. March On Atlantis with Graeme Murray’s higher register taking the lead on a storming track that moves from a melodic vocal part into a stomping and ominous march – doing exactly what it says on the tin. Relegated to a B side although it ha d been played on tour, it’s an underrated gem. East West a gentle ballad with a searing guitar solo, yet the return to their earlier cuts sees the swing of Heart Attack (check the brilliant jig part) and Crown Of Thorns getting the studio polish and committing definitive versions to tape.

The US version is included for completeness. Some maybe questioning the need for a different mix for the US market. How does it compare? Without the opportunity to dissect on a high quality system, detecting a difference might need a deeper forensic investigation.Possibly a little sharper and thinner and a few points where the vocal seems lower in the mix? Whatever, The Sentinel has earned its status as a vital contributor to the legacy of the era.

A NEW ERA

The following year Euan Lowson departed the band to be replaced by Alan Reed. Discs Five and Six record the next part of the Pallas story. The three songs from the Knightmoves EP (plus the bonus of the 2 demos which appeared as a rare 7″ bonus single with the EP – more 80s New Wave than traditional Prog you’d envisage) see Alan Reed is suddenly settled in the role. They clearly picked the best three tracks to showcase the new line up that in hindsight seems a bridging release yet with some tremendous material. Stranger is perfect single material, much more so that anything they ever released as a single, with bubbling synth and insistent keyboard lines and a trademark Pallas chug (not dissimilar to A Million Miles Away on The Wedge), whilst in Sanctuary the lighter side gave way to their extended epic best down to an Atlantis-esque climax. An excellent release that bridges the gap between the two singers and the change in style that was about to come.

The next album The Wedge was another UK chart entry and one that saw some of the pomp shelved and like the single, Throwing Stones At The Wind with it’s jerky rhythms and electronic vibe, a starker sound. Those quirkier sounds and an attempt at a more accessible formula yet the swings and roundabouts effect might note the development as a little water treading result. In hindsight and to these ears, the shift from the traditional Prog tropes is a corner about to be turned from the Progressive path to a harder edged side road. Moments of pomp and ceremony are retained in the power ballad Win Or Lose and at the back end of the album, Ratracing (particularly the excitement in the last couple of minutes) and Just A Memory more trad Pallas. The watery sounds and rubbery bassline on the latter as though the spirit of Pino Palladino is in the room.

The final disc is a live set from Ritzy’s from October 1985, ahead of the release of The Wedge with the setlist capturing some of the new songs and a choice selection from the catalogue so far. There’s no Atlantis in the room – sunk without trace (for a while) and the opening fizz of Dance Through The Fire makes the intentions clear in a four minute burst of energy. The energy of two Sentinel tracks sees Alan Reed showing his worth on the first pairing of older material before his between song patter finds him sounding a little like Fish with the “this is a song called Ratracing” intro. Ye olde Prog resurfaces with the immediate recognition of enthusiasm as the Crown Of Thorns keyboard intro begins which Alan also handles with aplomb with one of the first Pallas epics matched by the set closer Sanctuary. A fine way to bring closure to the period where the Pallas star burned itself briefly out.

And that was that until circa 1999 when a new surge of activity sparked off a return that sees Pallas to be still a going concern. A new album, The Messenger, plus PROG magazine even carried a free Pallas sampler for Download and with Alan Reed back as singer having kissed and made up. Having said that, Eyes In The Night is a cause for celebration.

Here’s Arrive Alive:

Pallas online: Website / Facebook / Bandcamp / Youtube

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