Pete bardens torrent

Mystic Queen 3. Six Ate 4. Separation 5. Never Let Go 6. Curiosity 7. Arubaluba Bonus Tracks 8. Freefall 2. Supertwister 3. Earthrise 5. Lady Fantasy - a. Encounter - b. Smiles For You - c. The Great Marsh 2.

Rhayader 3. Rhayader Goes To Town 4. Sanctuary 5. Fritha 6. The Snow Goose 7. Friendship 8. Migration 9. Rhayader Alone Flight of the Snow Goose Preparation Dunkirk Epitaph Fritha Alone La Princesse Perdue Aristillus 2.

Song Within a Song 3. Chord Change 4. Spirit of the Water 5. Another Night 6. Air Born 7. Another Night single version 9. Lunar Sea Live First Light 2. Metrognome 3. Tell Me 4.

Highways Of The Sun 5. Unevensong 6. Elke 8. Skylines 9. Breathless 2. Echoes 3. Wing and Prayer 4. Down on the Farm 5. Starlight Ride 6. Summer Lightening 7. You Make Me Smile 8. The Sleeper 9. Wait 2. Eye Of The Storm 4. Who We Are 5. Survival 6. Hymn To Her 7. Neon Magic 8. Remote Romance 9. City Life 2. Nude 3. Drafted 4. Docks 5. Beached 6. Landscapes 7. Changing Places 8. Please Come Home Reflections Captured The Homecoming Lies The Last Farewell: The Birthday Cake No Easy Answer 2.

You Are the One 3. Heroes 4. Selva 5. Lullabye 6. Sasquatch 7. Manic 8. Camelogue 9. Today's Goodbye A Heart's Desire Pressure Points instrumental 2. Refugee 3. Vopos 4. Cloak and Dagger Man 5. Stationary Traveller instrumental 6. West Berlin 7. Fingertips 8. Missing instrumental 9.

After Words instrumental Pressure Points Extended 12" Single Version [ ed. Dust Bowl 2. Go West 3. Dusted Out 4. Mother Road 5. Needles 6. Rose of Sharon 7. Milk n' Honey 8. End Of The Line 9. Storm Clouds Cotton Camp Broken Banks Sheet Rain Whispers Little Rivers And Little Rose Hopeless Anger Irish Air 2.

Irish Air instrumental Reprise 3. Harbour Of Tears 4. Cobh 5. Send Home The Slates 6. Andy Gee, by the way, is a real guitarist, a German-born guitarist, and not Peter Green in disguise as sometimes believed Green probably did appear on the album, but uncredited. To me, this album really blew me away, but I seriously doubt the prog purist would have lots to enjoy, but it to me, the music reviews are on the quality, not how much or not prog it is.

Great stuff, as far as I'm concerned. The first few and last few tracks are so utterly dispensable with their incessant synthetic rhythms, halfhearted mumbled vocals, and repetition utterly lacking in development.

I keep hoping for him to do something to spare the utter ignominy, even to the point of re-listening in the hope that something missed first time around will distinguish itself, but I can only conclude charitably that the proverbial spirit and flesh were not in concert. But I allude to a firmer midsection. The two tracks sung by daughter Tallulah do not by any means salvage this effort, but they do usher in a level of competency that is paid forward to the instrumental "No Jazz". I think I even hear guitars though none are credited.

An understandable level of leniency can inflate the market value of pseudo-posthumous releases of this sort, but I feel it would do a disservice to the man's legacy to apply buoyancy to "The Art of Levitation".

Rest in peace, gentle soul. The album's modest highlights occur mostly near the end, with "After Dark" benefiting from minimal but effective accompaniment by Gus Isadore and a very likable rhythm.

By far the best vocal track is "Slow Motion", which is a bit prescient of later solo work, while "Raining Over the World" is a decent return to the style of "Starlight Ride".

The album closes rather brilliantly with the title cut, an upbeat synthesized number with more of a sense of mystery and suspense than anything else here. Its oddly simple yet captivating melody gives the disk a better send off than it might deserve. For the rest, I might instead recommend the fun s TV drama of the same name different spelling instead! This anthology set gathers together Peter Bardens' first two pre-Camel solo albums The Answer and Peter Bardens in their respective entirety, plus some tracks from various bands Bardens played in during the 60's, three Camel numbers, and a few tracks from Bardens final solo album The Art Of Levitation As such Write My Name In The Dust works horribly badly as a retrospective as there is a very heavy focus on the very old--before Bardens became relevant--and the very new--long after he seized being relevant, overlooking almost everything of what came in between!

The primary reason for buying this two CD set is to get hold of those two full early solo albums for a reasonable price. Since I have reviewed those two albums separately, I will focus on the rest of what's here in this review.

The Zombies and Manfred Mann might perhaps be used as reference points here in terms of the style, but the quality of most of these songs is far below those acts. If you are looking for anything proto- progressive here, you are going to be disappointed. The most important period in Bardens career is certainly his time with Camel. There are three Camel recordings here: a live recording of Arubaluba originally from Camel's self-titled debut , Supertwister from 's Mirage album , and a single edit of Flight Of The Snow Goose In addition there is a version of Spirit Of The Water originally from 's Moonmadness re-recorded for The Art Of Levitation--Bardens final solo album, released the same year he passed away.

Like most of his solo albums, this was far away from Prog and more towards New Age. Overall, a rather weird compilation this, and far from essential social review comments Review Permalink Posted Sunday, February 2, Review this album Report Review That I am not a fan of Peter Bardens solo career would be something of an understatement. But being a Camel fanatic, I needed to hear what Bardens achieved outside of that great band. Like most of his other solo efforts, this one too is full of rather dull "adult contemporary" Soft Rock.

There is little or no hint of anything progressive or remotely related to Camel. The opening number Sometime, for example, is in full-on Phil Collins mode.

Some of the jazzier, instrumental parts of the album are bearable easy-listening exercises, but they fail to grab my attention and they fail to leave any lasting impressions. The only highlight of the album is the pleasant Sea Of Dreams which sounds a bit like Mike Oldfield playing lead guitar lines over an electronic back-drop in the vein of Jean-Michel Jarre. This piece reminds slightly of Bardens best solo album, the electronic Seen One Earth. The rest of Further Than You Know is however best avoided.

I don't want to say that's a masterpiece, but it flows very well, some background sounds give richness to the arrangement. The only bad thing is the faded out final. I will never stop saying how I hate closing a song in that way. Can you imagine Sylvian or even Bowie singing this song? I'm not saying that it would have been a hit, only that's a good song. With "Making Waves" we continue this electronic journey. Who likes the Tangerine Dream stuff of the 80s can like this as well.

I hear echoes of Jarre, too. Now the highlight. Unfortunately her debut album produced by Mick Fleetwood is just pop, good pop maybe, but only this. The arrangement can appear strange, it's totally electronic where the original version was almost acoustic. But it's like releasing it on Stationary Traveller instead of on Moonmadness.

The Hopi have recognized 8 of the 9 signs before the catastrophe the coming of a blue star that will destroy the current world. The song has percussions that should remind to the native americans. If written by Jon Anderson it would have been a newage anthem It's a funky track in the style of the Bardens just after leaving Camel. I don't like the background voices. Totally instrumental it would have been better.

A pity. Not too bad but very few progressive. To be honest I like it. This song gives me a sense of joy, like some newage can do. And it's strange if you think that's the last song recorded by Peter Bardens before dying of lung cancer.