PETER GEE

A very pleasant album of original songs by the bass player of Pendragon. The style, as it can be expected, sounds pretty much like a continuation of the neo-prog vein aboundantly exploited (and maybe invented) by that english band. The vocals by Steve Thorne and Damian Wilson are soft and melodic, fitting the emotional tone of the compositions: sensible, but also restrained. My personal favourite track here, called "Stradivarius", brings to the fore a nice touch of classicism, really welcomed to a prog occasion.

Even not breaking any new ground, this is a good solo effort, and a valuable chance to appreciate Peter's abilities outside his band.

Wow, no this is an undertaking. Putting the whole Bible into a concept album. Eela Craig did a fine job with the Mass un Misa Universalis, Iona have made a fabulous album Book of Kells, based on... the Book of Kells. Neal Morse has also made an amazing concepts albums based around biblical themes namely '?'.

Both albums are worth delving into. However this is the ultimate concept album and Peter Gee has done an amazing of job of condensing the narrative into 70 minutes, spanning 28 or so tracks.

From the initial Apollo 8 recording we are taking on an amazing journey. I am only familiar with some of the Pendragon work such as The World and Window of Life. Just thought I would take a punt and order the CD and on a long journey from southern England to Scotland, soaked this lovely concept in.

The music is in the Pendragon/UK mould and works really well. Josh Brown's vocals are nice and powerful very emotive as well. The narration has a really nice ring to it and the inclusion of female vocals really adds to the resonance of the themes. In addition there are quite a few voice as instrument contributions (the word escapes me now). Being theme around the Bible I took great interest in the lyrics, and I found the delivery and construction of the lyrics to be rather innovative. As far as I can tell there are no repeated choruses on this album which means that everything flows nice and sequentially. There are some corus themes, but the lyrics keep on introducing new themes and storylines. I really liked this approach, making it far more truer to the idea of a concept album.

Peter also plays a wide range of instruments but calls upon a vast array of guest musicians to add flavour and depth to the who recording. Amazing feat for an ambitious task. I was sceptical anyone could really pull this off, but this is a surprising and superb effort!

This has been a long-time friend, 20 years on now, that keeps me sporadic company and I have never graced it with a review. Surely not a masterpiece in the conventional 'fan' sense but we all have some pet favorites that do not necessarily hit the spotlight and get any astrological awards. Peter Gee is not an unknown entity, having manned the bass guitar for celebrated neo-prog stalwarts Pendragon since nearly the beginning, and still loyal to Nick Barrett and Clive Nolan to this day. Safe to say his day gig is cement solid. In 1997, he released this second solo album to little or no fanfare and that is a shocking injustice as this album is quite a joy to listen to, offering homogeneity and diversity , albeit in a mellower, folkier vein than the parent group. It is not a religious album even though with titles such as "Faith", "Orphans" and "Jordan", one might be tempted to classify this as a Christian recording. Actually, it is full of interpretations of specific scripture passages. But upon closer inspection, the brute reality is that it's an album about that weird thingy called love. Not exactly Tolkien-esque prog material but what the hell! What draws me regularly back to this lovely jewel are the masterful melodies that are just simply world- class and not just here and there, it's the spirit behind the opus.

The 10 minute extravaganza "Always" ushers in a jazzy style, almost Stealy Dan in approach that immediately gets the positive buzz going, a slinky affair full of breezy bravado and great playing. Elegant piano kicks the main melody into gear, a ravishing display of simplicity and emotion, introducing the the more upbeat tempo that is solidly maintained by Gee's bass guitar and Jadis regular Steve Christy's fluffy drumming. Guitarist Ian Salmon lays down some slick riffs that keep the mood 'always' exciting, vocalist Simon Clew agonizing about the 'darkness of the night' choir in tow, followed up by a mid-section that first gives keyboardist Clive Nolan a thrilling synth foray to execute and then, Nick Barret the platform to show off his mighty lead guitar skills, one of the very best solos in his illustrious career. Fascinating and eternal.

The quasi-bucolic "Heart's Desire" is all about fragility, the hushed Clew vocals curled around a lovely acoustic guitar accompaniment, piano in contrast, weaving slowly a main melody that is breathlessly beautiful 'safe in your arms' and 'an angel of mercy'. The emotional lyrics are simple but poignant, the music matching the delicacy of the intent, serving up a highly honest, undisguised and under-produced piece of genius. Nolan's keyboard work is understated yet brilliant. Very British and very pleasant, indeed. "Lost and Found" is a surely too syrupy for some of the harder- edged boys out there but it's a grand melodic song, full of that sincerity so lacking in modern music at times. Think song-oriented Anthony Phillips material circa "Sides" or "Wise After the Event", an underwhelming, bucolic, symphonic very Arthurian style that is addictive for those with zero expectations.

The short "Faith" is a sparse little ditty, delivered by acoustic guitar and vocals that espouse the circumstances of 'living in the shadows', a song about trust, that one very rare ingredient in today's world. Flimsy and pretty. More melancholy in a sad and breezy way with the candid "Never Could Say Goodbye", fueled by a jazz-blues disposition that could easily be heard in some pub /lounge that has a more eclectic style. Romantic, cool, suave and well-played.

The big winner here is the 8 minute instrumental blow out "Orphans" which could effortlessly pass as an Andy Latimer classic, a slow burgeoning masterpiece that leaves Nick Barrett the opportunity to build up quite a thundery arrangement, the fabulous choir work is pure heaven (Tina Riley), winking at past glories such as PF's "The Great Gig in the Sky" or KC's "Sailors Tale" and then the apotheosis, a scorching, stunning and whopping solo that will shriek the neighbors. Again, one of Barrett's finest!

The more overtly symphonic "Jordan" is another highlight track, a leading piano galvanizing the composition to aim towards a higher plane, crafting another mammoth melody that stays etched in the mind. This is what one would call an anthem, as the vocals inspire a nearly gospel feel, with the piano, the simple beat and the bass scouring the soul. The chorus is massive and impetuous, the fragility still present in spades. My favorite track is the last one, the ultra-corny, overtly romantic, shiveringly sappy, and yet memorable love song "I Believe in Love", armed with the most puerile lyrics ever. I care not, sucker for shedding a tear or two at the loves that have gone into my shell full of pearled memories. Gorgeous simplicity

For most, a maudlin 3.5 but like I said, I have a VERY soft spot for this comfortable pillow. 4.5 Apparitions of Cherubs

Entering the 00's and with Nick Barrett having recovered from a hard divorce, Peter Gee found no additional time for personal recordings, between 2001 and 2008 Pendragon released no less than three studio albums, while their bassist was also involved in several projects, like Oliver Wakeman & Clive Nolan's ''The hound of the Baskervilles'' and ex-Glass Hammer Michelle Young's ''Marked for madness''.But after a decade of silence Gee returned in 2008 with his third work ''The spiritual world'' (an independent release this time), where he plays bass, guitar and keyboards, Stephen Christey is again the drummer, while the vocal parts are handled by Steve Thorne, except for one track, sung by Simon Clew.

Structurewise not much has changed since his previous album from 1997, there are seventeen short- to mid-length tracks in the album without much of a progressive technique and virtuosity, but lots of atmospheric and emotional soundscapes.Soundwise though this appears to be Gee's most cohesive album thus far, a collection of more emotional and more classic-styled Neo Prog pieces and ballads, this time heavily influenced by the softer side of his main band, the atmospheric colors of PINK FLOYD, but also the lyrical depth and musical integrity of Fish-era MARILLION, definitely one unique of an entry in Gee's solo music.And while listeners of his previous efforts are already familiar with his melancholic and warm arrangements with the instant melodies and light symphonic vibes, the new album offers a few pieces rooted in the Classic Neo Prog style with a tad more symphonic keyboards, strong GENESIS influences in the vocal moments of Steve Thorne and some pounding drumming and bass, just listen to tracks like ''Return to life'' or ''Sunset boulevard''.Additionally Gee decided to throw in some unexpected passages with a pure instrumental symphonicism, which sound even more enganging, when considering he was now also responsible for the keyboard work.His PENDRAGON-like pieces are certainly very good, it's a style he served for several years and the result is absolutely great, warm, delicate and melodious Neo Prog.

Gee moves a step closer to classic Neo Prog with this release.More symphonic, more ethereal and more balanced music throughout, featuring excellent Phil Collins-like vocals and influences spanning from mid-70's Genesis and Pink Floyd to Marillion, Abel Ganz and Pendragon.Strongly recommended...3.5 stars.

Due to the long break between ''The masquerade overture'' and ''Not of This World'' Pendragon's bassist Peter Gee found sometime to record his second solo album.''A vision of Angels'' was recorded in 1997 at Halfway Houses Studio in Maidenhead and released the same year on Pendragon's Toff Records.Besides the usual suspects Nick Barrett, Clive Nolan and Ian Salmon, Gee received helped from singer Simon Clew and female vocalist Tina Riley (both contributed vocals on ''The masquerade overture'') and Jadis' drummer Steven Christy.

''A vision of angels'' marks no stylistic improvements over ''Heart of David'', being quite similar regarding the compositional part.Generally the longer cuts have an obvious PENDRAGON and later CAMEL flavor, being deeply rooted in Neo Prog stylings and featuring great elaborate solos, light symphonic passages and excellent warm vocal work, showcasing Peter Gee's ability to compose high-class material.However his favorite style seems to be this soft simple- structured Progressive/Art-Rock of alternating acoustic and electric parts, vocals on the forefront and background atmospheric keyboards.But he really manages to deliver some nice and highly emotional musicianship even that way.On the other side a few commercial sounding but uninspired ballads like ''Never Could Say Goodbye'' or the overstretched ''Jordan'' add nothing interesting to this release but some more minutes of rather forgettable music.

There is enough stuff to be found in ''A vision of angels'' to satisfy any fan of emotional Art Rock,Neo Prog or slightly symphonic melodic prog.Especially for fans of PENDRAGON or CAMEL it is almost impossible to dislike this album.Recommended.

Automatically drawn to this album some time ago because of mr.Gee's membership of the neoprog giants Pendragon I nevertheless knew it wasn't going to be a predictable success. And this is because I also own the predecessor Vision of Angels which was ultimately a slight disappointment only saved by the highlight Always.

So I knew I was heading for dangerous territory and looking at the album title I was possibly heading for disaster. And alas that appeared to be the case in the end I'm afraid. At this very moment the album still had an average of 4.29 due to 7 ratings without review. Hmm....

Unfortunately Peter Gee is only occasionally able to produce an excellent track. At least for my personal taste that is of course. I was blown away by the first I ever heard from him which was from a sampler and that song was Crying on the inside. Boy, I wish he did all his tracks like this. Superb guitar and neo prog of the highest calibre. On Vision of Angels this great track was as I mentioned Always, again thanks to brilliant guitar and great keys. On this very album the by far best track is A matter of the Heart with, you guessed it: once again some great guitar.

But other than this sole effort there's not much to enjoy for me here. Like I usually say: one great song can't save a whole album. The rest of the songs is obviously for the faint- hearted/sensitive kind of music lovers amongst us. All about religion and love, nothing wrong with that objectively but not my cup of tea. I hope Peter Gee will be able to make an album with just a bunch of great songs on it but if he continues like this The Spiritual World will be my last purchase from him. Two stars is the verdict (2,5).

Here we have an album that is harder to rate than to review. And that's because there is one excellent song on it (almost masterpiece) whilst the other ones are miles behind it. So then it's always the question what to do with the rating ?

The magnum opus of this album I'm talking about is of course the opening track, Always. The first half isn't even that great but when the instrumental second part takes its turn, well you can sit down and enjoy I can tell you. First there's a great keyboard solo lasting for 1,5 minutes before the grand finale starts with a mindblowing guitar solo by Nick Barrett.

It's really sad to say that after this song the album is more or less over. I don't want to be disrespectful to Peter Gee's contributing musicians but the singing is below par and the other compositions are good at best but nothing to get excited about. Heart's Desire is an example of this and 3rd track Lost and Found the singing is less annoying but it's a mediocre mellow song without substance. Next two are hardly more impressive (5th track is ok with nice jazzy playing) until we arrive with the 6th track (Orphans) the only other song that is more than acceptable but there we have the problem that it really goes for half the song (the second part with again great guitar). In the first half is some annoying singing I have to say. The other three songs are no better than the aforementioned few so there we have the problem for the rating. One superb song, one half good, the other 7 nice at best but actually poor and falling short in quality. I love Pendragon and therefore Peter Gee and out of respect I will give three for the whole album (2,7).

This is the second solo album by PENDRAGON bass player Peter GEE, the follow-up to "Heart of David". The music is beautiful melodic symphonic progressive rock. It doesn't differ very much from the PENDRAGON albums, but there's also reminiscences to CAMEL, FISH, The FLOWER KINGS, Peter GABRIEL, early GENESIS, MARILLION and STEELY DAN. Two PENDRAGON musicians are participating on this album: Clive Nolan and Nick Barrett. The other musicians are A MILLION BLUES vocalist Simon Clew, JADIS drummer Steve Christey, SHADOWLAND guitarist Ian Salmon and Tina Riley on Choir vocals and Backing vocals. The lyrics are basically about love and romance with a religious theme throughout the entire album. There's a text on the cover that says it all: "Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil, but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails." The highlights are "Always", the ballad "Lost and Found" with strong melodies, the acoustic "Faith", the jazzy "Never Could Say Goodbye" and the instrumental masterpiece "Orphans (All Alone in the World)". Peter has written all the songs, he's playing Keyboards, Fretted and Fretless basses, Electric, Classical & Acoustic guitars, and he's also painted the beautiful cover. This is a strong solo-album with good musicians and strong compositions, showing that Peter can do well, even without PENDRAGON. Unfortunately Peter's debut solo album is deleted, but I hope that it will be re-released sometimes in the future. Recommended!