A Pallas retrospective that sees them embracing the Prog as they move into the twenty first century with confidence.

With the excellent Eyes In The Night collection of their early recordings under the belt, the next chapter of the Pallas story gets a thorough reading. Having been at the vanguard of the so-called Neo Prog movement which had emerged in the UK they recorded two classic albums. Well, The Sentinel was certainly that in its grandiose scope and concept although The Wedge might have filtered the Prog for a more commercial stab.

This nine disc set features the albums and concert videos released by Pallas between 1998 and 2007: studio and live sets include Beat The Drum, Live Our Lives, The Cross And The Crucible, The Blinding Darkness, The Dreams Of Men and Moment To Moment – all newly remastered by keyboard player Ronnie Brown. It also includes an illustrated booklet with an essay by Pallas expert and associate Mike Bentley that offers up his informed perspective.

STUDIO

After losing a recording contract following the release The Wedge, Pallas disbanded, but after a period of lying dormant, re-emerged in 1998 with a line-up of Alan Reed (vocals), Graeme Murray (bass, guitar, vocals), Niall Matthewson (guitar), Ronnie Brown (keyboards) and Colin Fraser (drums) and a fine new album, Beat The Drum, which was welcomed warmly by fans.

That release saw the band embark on a new phase of their career. One surprising factor is the consistent line up across the period. Perhaps a major factor in producing three class albums that left The Wedge in their wake.

Beat The Drum comes with with a particularity sprightly title track and Graeme Murray’s metallic bass work right up front. Maybe some keyboard sounds of the era giving the game away, yet with some shorter and more direct tracks that lost none of the impetus. A more successful sign that they were at least on the right lines with The Wedge. Man Of Principle case in point maintaining the dynamic and barely taking the foot off the pedal.

The Fragments Of The Sun finale, reinforcing the fact that Pallas was back and prepared to Prog Rock. What Mike Bentley rightly calls a track that captures the majesty of the Sentinel/Atlantis material. A 9/10 review by future Big Big Train manager Nick Shilton in Classic Rock confirms ‘the return’ to those classic values as well as justification of the band looking at the self-release business model.

THE RETURN REAFFIRMED

2001’s conceptual work The Cross And The Crucible, is another another acclaimed studio album. The momentum maintained, the grandiosity keeps on rolling as does the Pallas take on the heavier version of Prog Rock. The title track sees the overuse of the word ‘epic’ continue. Graeme Murry has called the album “definitive Pallas” in both lyrical and musical terms. Who’s to disgree?

Not for the first time, the ghost of Keith Emerson and the graveyard keyboard sound is invoked – check the middle of Towers Of Babble and again, not for the only time, Niall Matthewson’s guitar is outstanding. The early days of his Blackmore fixation now channeled into the sort of searing and melodic work associated with the best of Prog guitar. The ‘no escaping the influences’ also sees Midas Touch itself borrowing ever so slightly from Yes’ Awaken – think Master of images and soaring lead guitar – in the goosebump-y minute or so that leads to the climax.

The catchy chorus of Who’s To Blame confirming that they have harnessed the knack for cutting down on the expansive and majestic and mastered the shorter track technique. Perhaps a good excuse to end with Celebration that (a) could well be tweaked somewhat to a Prog themed, all jolly ding-dong Christmas tune and (b) celebrates the greater glory into which Pallas have settled.

IF IT AIN’T BROKEN…

A further excellent studio album, The Dreams Of Men appeared in 2005. A case of if it ain’t broken why fix it. A model of operating efficiently doing what they do best right to the fore. And the long form, the drama and the majesty all combine with a subtle addition to the sonic pallette. The ten minute barrier proving no barrier, the opportunity to indulge in some wonderfully arranged guitar/keyboard parts it may be the most realised Pallas album – although of course, the story is set to continue.

The middle section of The Last Angel is a go-to moment and the violin enhancement in Ghostdancers, with its Scottish inspired storytelling is an unanticipated highlight with yet another Matthewson classic lead break. To many ears, Invincible recalls The Sentinel as does the Murray inspired riffing on Too Close To The Sun. he’s right on the button with several lead bass lines as is Ronnie Brown with his Wakeman-esque soloing in Mr Wolfe one showcase moment.

LIVE

The live sets in the collection follow each studio album release to give a comprehensive timeline of the development of Pallas. The double live album Live Our Lives was issued in 2000. A live set that provides the bridge from the early days to Beat The Drum. The Wedge gets a decent look in and the second disc is dedicated to a four song Atlantis Suite. Any Pallas gig that includes the essential March On Atlantis as part of the suite is always a winner. And to be fair to the band, what emerges from the live sets in the collection is how they always seem to be prepared to acknowledge and not be embarrassed or disown the music of their early years. More often than not, the time tunnelling is often (a) the highlight and/or (b) an unexpected surprise.

Always moving on but with a foot rooted firmly in the strengths of their past, which would be a feature of their live sets in the years to come. Not quite ‘live’ in the strictest sense, as outlined in the notes, but a hybrid, controlled conditions recording. A record of what’s been called “Pallas in mid-evolution” yet with their signature of a heavier version of Prog Rock.

SPECIAL GUEST…

Touring to promote The Cross And The Crucible, a memorable concert at The Boerderij in The Netherlands featured a guest appearance by former vocalist Euan Lowson and was recorded, filmed and released as the album and video The Blinding Darkness.

With an early inclusion of the grand epic that forms the Atlantis material, the finale stretching into a three minute climax which is statically received,the introduction of the former singer for a classic rendition of the espionage-esque Cut & Run and the classic early theatrical drama of The Ripper is quite an extra special and poignant (and slightly deranged) moment. In the notes, singer Alan Reed’s from the time comments about watching the band from the audience during this passage of play, are noteworthy.

There’s also an outing in the first half of the set for Crown Of Thorns – one of those epics from the Arrive Alive cassette days (and beyond). It’s slotted between the increasing number of ‘new era’ material, with The Cross & The Crucible elevated to the opening slot and proving more than worthy – a natural selection with the ominous chants reproduced along with slashes of guitar to stirring effect.

BRINGING UP THE REAR

In October 2007 Pallas performed a concert in Katowice, Poland which was again recorded and filmed and issued as the live album and video Moment To Moment in 2008. With three albums of new material from which to cherry pick, the set again gets a thorough tweaking. from The Dreams Of Men, Warriors gets promoted to the opening and the new album is well represented. Almost an embarrassment of riches at his stage, the mid set throwbacks make for more nostalgic treats. Heart Attack (a personal fave with the swinging “Am I in heaven…” part hitting the spot) and Queen Of The Deep a reminder of the days when Prog greatness was a pip dream.

To their credit, Pallas playing live always ticks the nostalgic boxes with pre-label days and then The Sentinel sequence sadly well represented The only fan criticism might be in little evidence of The Knightmoves EP and the masterpiece that is Sanctuary. On the other hand, anyone who might have fallen off the wagon as the new wave of Prog started to flag, would find The Midas Touch a revelation. Well done Pallas. Long live Pallas. A tremendous catch all set from the Cherry Red group.

Here’s Ghostdancers from the Moment To Moment live set:

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