Bardens, Pete

Artist: Pete Bardens
P: 1994
Big Sky is originally released in 1994 on the HTD label and is a collection of material old & new.
After about 7 very prolific years as a lite jazz artist, Pete Bardens went on something of a hiatus following this recording. As such, it is fitting that the album references the larger body of his solo work rather than any sort of progression. Since he seemed more concerned with personal than musical evolution by this point, the songs flow together just fine in spite of their varied lineage.
For instance, the ultra hip "China Girl" is reminiscent of the "Speed of Light" period, while "Puerto Rico" and "on a Roll" are firmly in his lite-Latin thread which became overt on "Further Than You Know". "Gunblasters" is as close as he came to a real rocker, containing references to Camel chiefly in the lead guitars and drums, but also to the Alan Parsons/Keats axis of songs like "In Dreams" from "Seen One Earth". He also seems to be alluding to the Camel days musically and in titular fashion with the lovely pianos in the all too short "For Old Times Sake", and "Scarletti" is another tinkly affair that shows Bardens getting back to the roots a bit more. "The Last Waltz" is an instrumental in the vein of his "Water Colours" period.
Challenging might not be a word that springs to mind when one thinks about the body of this man's solo work, and the big sky is certainly not the limit. But engaging, happy, and melodic are all compliments that flow freely from this reviewer when it comes to this 1994 Pete Bardens effort.

Artist: Pete Bardens
P: 1994
This is the Pony Canyon Japan version.
Big Sky is originally released in 1994 on the HTD label and is a collection of material old & new.
After about 7 very prolific years as a lite jazz artist, Pete Bardens went on something of a hiatus following this recording. As such, it is fitting that the album references the larger body of his solo work rather than any sort of progression. Since he seemed more concerned with personal than musical evolution by this point, the songs flow together just fine in spite of their varied lineage.
For instance, the ultra hip "China Girl" is reminiscent of the "Speed of Light" period, while "Puerto Rico" and "on a Roll" are firmly in his lite-Latin thread which became overt on "Further Than You Know". "Gunblasters" is as close as he came to a real rocker, containing references to Camel chiefly in the lead guitars and drums, but also to the Alan Parsons/Keats axis of songs like "In Dreams" from "Seen One Earth". He also seems to be alluding to the Camel days musically and in titular fashion with the lovely pianos in the all too short "For Old Times Sake", and "Scarletti" is another tinkly affair that shows Bardens getting back to the roots a bit more. "The Last Waltz" is an instrumental in the vein of his "Water Colours" period.
Challenging might not be a word that springs to mind when one thinks about the body of this man's solo work, and the big sky is certainly not the limit. But engaging, happy, and melodic are all compliments that flow freely from this reviewer when it comes to this 1994 Pete Bardens effort.

Here the last copy!

Artist: Pete Bardens
P: 1993
Further Than You Know is very similar in style to all of the other Bardens albums, but has more vocals. About half of the tracks are songs and the other half instrumentals. The last few songs are basically religious tunes spouting Christian values. The whole religious theme is basically hidden and sort of sneaks up on you. There is no indication from the cover or liner notes that this is a Christian album (only mention is that this is a new direction for Bardens). The whole first half of the CD is either typical Bardens instrumentals or nondiscript songs. Even the Christian songs don't sound like religious songs in the beginning. They start with a laic theme and then end with a Christian moral.
If you don't mind the subtle Christian messages, this is actually the best of Bardens new age work. The songs are good and there is more energy and emotion in the music.

Artist: Pete Bardens
P: 1987
This is the best that CINEMA electronic music releases had to offer in the mid-eighties. Everyone of these songs has an interesting element to it - whether it be the keyboard or synthesizer work or the melody or effects that drive them. This was 'Dark Side' for the synthesizer enthusiast. Most of my friends in college liked this and wondered where it came from. For fans of Camel and Floyd (instrumental only).

Here the last copy!

Artist: Pete Bardens
P: 1988
Pete Bardens' follow-up to the popular Seen One Earth is a lightweight collection of new age instrumentals and sleepy pop songs. Speed of Light does feature a handful of nice melodies, none better than the atmospheric "Afterthought," but it's not enough to make this a compelling purchase (especially for Camel fans expecting a hint of the old organ magic to surface -- it never does). Synthetic songs like these live and die by the sounds at their disposal, and the fact is that the simulated flutes, saxophones, keyboards, and percussion used here only date the album. A couple of tracks, like "Westward Ho!" and "Gold," recall the southwestern sounds of Tangerine Dream (notably Oasis), though on a less grand scale. While the instrumentals are generally enjoyable, those with vocals suffer from pedestrian melodies.

Here the last copy!

Artist: Pete Bardens
P: 1970 / 2005
Digitally remastered and expanded edition of this 1970 album from the legendary keyboard player and Camel member. The album is expanded with both sides of the only single released by Bardens' outfit Village, a group who also included future Elvis Costello band member Bruce Thomas and lasted just a few months in 1969.

Artist: Pete Bardens
P: 2002
The last art by the perfectionist. Clarity of sound and rich nuance cannot be reproduced by PC or inexpensive audio system. To reproduce fully HiFi sound in this CD, probably you will need to upgrade your audio system.
When played on Highend system, you will be surprised at the dynamic range and clarity - "Spirit of the water" is a good example where whispering voice by Talluah (Pete's daughter) is heard.
We believe this version "Spirit of the water" sung by Pete and Talluah is the best version after comparing Camel Original, Andy Latimer, Mirage and Pete Burdern's Mirage.

Artist: Pete Bardens
P: 1991
This early 90s release by Bardens sounds a lot like a soundtrack, and indeed it did appear as accompaniment to a nature oriented video in addition to the CD form.
If you want a Bardens' solo album that is more focused on his instrumentals, this might be the one to get, as long as you and electronic new age music mix together better than oil and water.

Here the last copy!

Artist: Pete Bardens
P: 2000
Lot's of classic Camel material as well as instrumentals from Seen One Earth and the follow-up Speed of Light.
Music here is mainly instrumental with touches of progressive rock, new age and all in a sort of blend of styles all done very well. The band is tight and Pete's choice of instrumentation is 90s synths but I swear he's soloing on a Mini-Moog or ARP Odyssey on a few tracks. His playing is melodic and full of energy. Barden's had a talent for crossing over his progressive rock pedigree into a more palatable form for any eager listener to digest.
The recording albeit a live one is clear and punchy and not too much of audience noise, a welcomed blessing to this listener and ALWAYS detracts from a live recording.
A shame Pete is no longer with us he had a penchant for warm melodies that linger long after the echoes of the music had long faded.

Here the last copy!

Artist: Pete Bardens, Michael Hoenig,
Patrick Moraz, Amin Bhatia
P: 1987
This is a collection of tracks released by the Capitol label in the 80s.