Scottish band Pilot was formed in 1973 by vocalist, bassist, and guitarist David Paton and keyboard player Billy Lyall, later joined by drummer Stuart Tosh and guitarist Ian Bairnson.

In different incarnations, the group issued twelve singles between 1974 and 1977. Cherry Red Records has gathered the twenty-four tracks included on those 7” releases and supplemented them with a tune from a multi-artist flexi disc, as well as both sides of a pre-Pilot single issued under the moniker Scottish Mist, and solo 45s by Lyall and Paton, making a total of thirty-one tracks on the new two-disc ‘The Singles Collection’ on their 7T’s subsidiary label.

The set opens with “Just A Smile,” a pop tune recorded by the trio of Paton, Lyall, and Tosh, featuring jangling guitar from Paton. The b-side “Don’t Speak Loudly” is heavier, with swirling guitar and keyboards to the fore, and a tasty guitar solo from Paton. “Ra-Ta-Ta” is a cover of German band Solution, released by Paton and Lyall with session players, credited to Scottish Mist, backed by the gentle, ethereal “Pamela.” Pilot hit it big with the pop rock classic “Magic,” featuring an infectious melody with Bairnson adding gorgeous guitar uncredited. The band’s breakout song reached number 11 in the UK, number 5 in the US, and number 1 in Canada. The non-LP b-side “Just Let Me Be” includes nuanced wah wah guitar by Paton. Pilot’s biggest hit in the UK, “Canada,” topped the charts for three weeks; its gorgeous melody is complemented by vocal harmonies and tasteful guitar accents from Bairnson. The tune’s b-side “Never Give Up” is a showcase for Bairnson’s guitar work, highlighted by his lead line and subdued solo. “Call Me Round,” with beautiful vocals from Paton, reached number 34 on the UK charts, while its b-side “Do Me Good” shows the heavier side of the band, with Bairnson’s guitar accents and solo on display. The bouncy pop rocker “Love Is” was issued on a multi-artist flexi disc, highlighted by Bairnson’s subdued solo.

A re-recording of “Just A Smile” has an acoustic intro with strings supplementing Bairnson’s notable guitar work, while the b-side “Are You In Love” is another gentle acoustic pop rocker. The non-LP cut “Lady Luck,” Pilot’s sixth single and the last to feature Lyall, includes a tasty interlude by the keyboard player and is backed by “Dear Artist,” with Lyall’s piano on display. The Bairnson-penned “Running Water” features an extended solo by the guitarist, supplemented by piano accents, while the b-side “First After Me” rocks, the heavy groove of Paton and Tosh complementing Bairnson’s lead line and solo.

Disc two opens with “Canada,” featuring Paton’s vocals and Bairnson’s guitar on display, while the bottom side “The Mover” rocks thanks to the heavy groove of Paton and Tosh, along with Bairnson’s feedback-laden guitar. Follow-up “Penny In My Pocket” was the first release following Tosh’s exit to join 10cc, and is dominated by Bairnson’s guitar work, while the b-side “Steps” is an acoustic tune with Paton’s vocals to the fore. Pilot’s debut on Arista, “Get Up And Go,” finds the band successfully returning to its “Magic” and “January” sound at the request of label owner Clive Davis, with Paton’s poignant vocals joined by Bairnson’s subdued guitar. The track is backed by “Big Screen Kid,” which maintains the “Magic” vibe, Bairnson’s restrained solo supplemented by piano accents. Ian Bairnson’s “Monday Tuesday” is a song of love lost featuring acoustic guitar and strings, while the bottom side “Evil Eye” is a moody acoustic tune with Bairnson adding another understated solo. Pilot’s last single “Ten Feet Tall” has a Supertramp vibe with its vocal harmonies and restrained guitar. The b-side “One Good Reason Why” ends Pilot’s releases on a gentle note, with Bairnson adding a loping solo.

The disc and set close with releases by Lyall, credited as William Lyall, and David Paton. The Lyall 45 “Us” b/w “Maniac” features the keyboard player joined by David Paton on guitar, Phil Chen on bass, and Phil Collins contributing drums. Both sides are keyboard-led pop tracks, worthy although not particularly notable efforts. Paton’s single “No Ties No Strings” is again reminiscent of Supertramp, his melodic vocals joined by two tasteful guitar solos, while the b-side “Stop And Let Go” has a moody, deep bass riff, chugging guitars, and synthesizer accents, with a guitar solo adding to the atmosphere.

‘The Singles Collection’ comes in a dual-fold digipak with a sixteen-page full-color booklet, which features full track annotations, band photos, and release artwork. Pilot sounds better than ever thanks to the mastering job of James Bragg. The set will appeal to fans of 1970s rock, pop rock, and classic rock.

Kevin Rathert

Pilot ‘The Singles Collection’ (Cherry Red Records 2025)