BIG BIG TRAIN

As a longtime, die hard fan of Prog. Also an observer of Prog Archives for quite some time. It's time that I started to review albums starting with this one. So many choices could have been made for my very first review. So many life changing experiences and timeless unforgettable musical memories from particular artists and albums. So why this album first. Well for multiple reasons actually. This recording is a modern day milestone. It holds up to anything past and present. This is also the easiest recording for me to recommend whether you are a Prog fan or not. If you are a classic Genesis fan put it as #1 on your bucket list. This will make you forget about all about a classic Genesis reunion ever happening. You will be grateful Big Big Train happened instead. This is classic sounding modern Prog at it's finest. The return of David Longdon, Nick D'Virgilio (Spock's Beard), and Dave Gregory (XTC) make for a flawless lineup and some of the best music ever made.

Highlights:

Winchester from St Giles' Hill- Perhaps the most beautiful and definitive of tracks on this record. Breathtaking piano and flute playing. Represents everything I love about this band.

The Permanent Way- Maybe the most catchy song. The flute and guitar sound very Jethro Tull inspired.

Curator of Butterflies- My wife's favorite. I believe most people will really like it whether they are into Prog or not. It's a beautiful song.

Summoned by Bells- The violin from Rachel Hall and the horn arrangements are the ingredient that give Big Big Train their own unique sound. You hear strong Genesis influences but these arrangements make them not sound like Genesis. This track represents Big Big Trains signature sound in epic proportion.

The First Rebreather- Sounds like something from the Genesis albums Trespass and Selling England by the Pound at the same time. Begins sounding like it came from 1970 with the guitar intro and bizarre Peter Gabriel vocals. Ends with moogs that sound like Genesis in 1973.

This recording is a real treasure. I'm very pleased to begin review writing with this masterpiece which has been my plan for several years now. It's worth mentioning and there is nothing I could think of as being more important to present after listening to countless Prog albums that expand for over 50+ years. A very special place in my heart for English Electric Full Power.

Following a string of great albums in recent years, 2020 saw personnel changes paring the size of the band down from 8 to 4, but this sensational album, Common Ground, saw the new stripped-down band respond impressively, boldly moving forward, trying out some new styles and directions, while maintaining and building upon the core attributes that make this band great. I thoroughly love this album, from start to finish, every song a gem. It starts with a few songs that don't quite sound like BBT, as they expand their sound in some interesting directions and styles, and although at first a bit disconcerting, it all works wonderfully, providing some fresh style and perspective. Later in the album, the full glory of Big Big Train is fully realized, with the concluding series of 'Common Ground', 'Atlantic Cable', and 'Endnotes' providing perhaps their best song sequence ever, highlighting all the soaring emotions, beautiful melodies and grand themes present in their best work. Not as 'pastoral' as other recent albums, but this bolder vision for BBT combines all the best aspects of previous albums with some delightful new sounds and styles. This was undoubtedly my favorite album of 2021, it just keeps getting better with repeated listenings. For me, one of their all-time best (probably best since English Electric, and possibly best overall), showing more growth and diversity, and just wonderful music. Unfortunately, BBT also suffered a devastating loss late this year, when longtime frontman vocalist-songwriter David Longdon tragically died in a vehicle accident in November 2021 (R.I.P David). A huge loss for BBT, David's family, his fans, and the music world. But this great music will live on, and most likely BBT will also continue to move forward as well. 5 stars.

Big Big Train's follow-up to their stellar 2021 album, Common Ground, is Welcome to the Planet, which continues their run of wonderful albums, with another collection of great songs. Although it can't quite match the heights of the previous album (which was my pick for best album of 2021), it is still a great album. The band continues growing and developing during a period of transition and changeover in personnel, exploring and moving in some new directions, and getting contributions from various band members. Both of the songs written by drummer Nick D'Virgiolio ('Connection Plan' and the dynamic instrumental 'Bats in the Belfry') are excellent and quite different from previous Big Big Train songs (including an extended drum solo). The first half of the album shines the brightest, with 'Connection Plan', the grand and sumptuous 'Lanterna', the sparse and beautiful ballad 'Capitoline Venus' (featuring perhaps the best vocal performance from David Longdon), and the atmospheric instrumental 'A Room with No Ceiling'. The conclusion of the album is weakened a bit by the final two songs, as 'Oak and Stone' languishes some with an odd unsettled melody, and the final title track may be the strangest in the band's history, starting with disturbing lyrics and then perhaps the least inviting 'Welcome' ever with beautiful harmonies but a dark and twisted melody. Then, towards the end of the song it transitions into a New Orleans-style Dixieland jam before ending with the opening disturbing mood and lyrics. Certainly an intriguing track from newcomer pianist Carly Bryant, but ends the album with more of a WTF? than the grandness of previous releases. Despite that questionable ending, still a great album overall. However, it is also bittersweet hearing the wonderful vocals of David Longdon on this album. Great that we get these new songs from him, after his tragic death late last year, but sad that we will not hear his voice or his other contributions on future albums. Best Tracks: 'Connection Plan', 'Lanterna', 'Capitoline Venus', 'A Room with No Ceiling',' Bats in the Belfry'. Weakest track: 'Oak and Stone'. Rating: 4 stars.

BIG BIG TRAIN - English Electric (Part One)

"English Electric (Part One)" by BIG BIG TRAIN is a magnificent work of art that encompasses a wide range of genres and styles. The album, which is the first in the band's "English Electric" double LP series, showcases the band's exceptional musicianship and songwriting abilities.

From the opening track, "The First Rebreather," it's evident that BIG BIG TRAIN is a band that doesn't shy away from experimentation. The song starts off with a gentle acoustic guitar melody, and as it progresses, layers of instruments and vocals are added, creating a rich and complex texture. The arrangement is intricate and well-crafted, and the interplay between the instruments is captivating. One of the standout features of this track is the vocal harmonies, which are lush and impeccably executed.

Another highlight of the album is the song "Uncle Jack." The track starts off with a propulsive rhythm section and features some exhilarating guitar work. The melody is catchy and memorable, and the lyrics are poignant and introspective. The vocal delivery is passionate and emotive, and the harmonies are again exceptional.

Overall, "English Electric (Part One)" is a meticulously crafted album that rewards repeated listens. The songs are intricately arranged, and the musicianship is top-notch. The album also showcases BIG BIG TRAIN's talent for writing compelling and thought-provoking lyrics. While some listeners may find the songs on this album challenging or difficult, I think the rewards of immersing oneself in this music are well worth it. In my opinion, "English Electric (Part One)" is a masterpiece of modern progressive rock.

5/5

On 20th November 2021, BBT vocalist David Longdon died in hospital after an accident at his home. This obviously had a major impact on the band and everyone who knew him, yet they had just completed their latest album so what to do with it? David was very proud of the recording, and in conjunction with his partner, the band made the decision to release it in January 2022. Of course, this meant I had not heard it prior to David's passing, so it is quite possible that my review is impacted due to that knowledge, but I will attempt to remain as objective as possible. Although the band had changed to a quartet for the previous release, 'Common Ground', they were now operating as a septet with no guests whatsoever. David Longdon (lead vocals), Gregory Spawton (bass), Rikard Sjöblom (guitars, keyboards, vocals) and Nick D'Virgilio (drums, vocals) were now joined permanently by three musicians who all performed on the previous album as well, Carly Bryant (keyboards, lead vocals), Dave Foster (guitars) and Clare Lindley (violin, vocals).

Unlike most progressive bands, Big Big Train have become more prolific as they have got older: it took them twenty years to release their first seven albums, yet in the last ten they released eight, and at a much higher quality as well. Not bad for a band I have now known for more than 30 years, and this was their fifteenth (yes, I include the CD version of 'From the River To The Sea' as their debut as that was how we regarded it at the time). They have increased much of the complexity which was found on 'Common Ground' yet maintaining the freshness and light so that one never feels overwhelmed or smothered and instead is taken on a journey where one does not know where or how it is going to lead. The result is exciting and enthralling as one is taken into a world full of beauty and surprises. One can understand why David was proud of this as his vocals are outstanding, but there are lengthy passages where he makes no appearance at all, yet the music is still vital and engaging.

The violin lets the band move in folkier directions when the time is right, and they also allow themselves to play in standard time and be commercial when they want, and then go off at tangents at others, always with a harmony to the arrangements which is superb. Greg combines with Nick to provide wonderfully melodic and powerful basslines which cuts through the gentler aspects, grounding the music so it never goes too far in any direction but instead stays core to the vision. The result is possibly the finest BBT album of their career, but instead of looking forward to the follow-up we now wait to see what happens next. That there will be a next was never in doubt, and in March the band announced their new singer is Alberto Bravin of PFM.

This is a wonderful album. Do not listen to it in sadness at David's passing, but instead treat it as the triumph it is, an incredible piece of work.

I am always nervous when it comes to listening to a BBT album, and especially when writing about it, as I am probably the person who has been reviewing them longer than anyone else in the world. The band have reinvented themselves multiple times over the years, but the one constant has been Greg Spawton, and last year's 'Common Ground' saw them take another jump sideways as the band undertook a serious culling. Although they had some guests (including the wonderful Dave Foster who cut his teeth on the same circuit as the original BBT), the band was now David Longdon (lead vocals), Gregory Spawton (bass), Rikard Sjöblom (guitars, keyboards, vocals) and Nick D'Virgilio (drums, vocals). BBT's style has changed over the years, but somehow, they have always seemed very English, even though that has not been the nationality of all those involved. Here that pastoral sound has been combined with a freshness and openness as they used David's vocals to even better effect, although they also demonstrate that here is a group of musicians who can really play. There are times here when they come across as mid Eighties Gabriel with some fairly commercial elements, yet they also use dated keyboard sounds when the time is right, throw in weird time signatures and an angular quirkiness which brings a smile to the face. There is even a guitar-led section towards the end of "Black With Ink" which could have come straight from Spock's Beard.

However, that being said, one of the joys of Big Big Train is that they are themselves, and not trying to be anyone else. In their early days they had very much their own sound, and the same is true today in that the music supports the vocals, placing David strongly in focus, yet when studying the arrangements, one quickly realises there is a great deal going on underneath and they are doing far more than provide support and instead have the right mix of complexity and commerciality to really elevate.

It is a very different album indeed to 'The Grand Tour', as the band have gone back to their roots and into themselves and have then thrust their ideas outwards to create something which is very special indeed.

BIG BIG TRAIN is the singular group that I knew later on, not knowing where to place them, at a time when I was lacking the voice of Peter GABRIEL; in short a group stamped english group with a lot of sizes as musicians. Album in two parts, here we go:

'Made from Sunshine' bucolic, playful, in an English style with choirs, trumpet, the BBT style for the moment without too much particularity. 'The Connection Plan' with nervous violin, phrasing and jerky voice depending on the tune. 'Lanterna' where David puts his voice forward, the shadow of the archangel is very present here and brings me back to my first listening to this very singular group, navigating between pop, prog and rock, merging GENESIS with Roine STOLT and musical ideas from XTC, the creative Anglican melting pot quietly. 'Capitoline Venus' for short label Charisma melody as interlude. 'A Room with No Ceiling' for the instrumental jewel, open drawers which lead with accordion on green valleys, limit bossa nova, then decreasing return.

The 2nd part leaves with 'Proper Jack Froster' and David in front, I find there bucolic sounds of the XTC, innovation going on folk, jazz with the trumpet contribution and this bewitching voice which plunges back decades into rear of the 'Foxtrot' era; Clare comes with violin and vocal to give a touch of sensitivity, of emotion before a sublime solo in depth, the notes unfold on an aerial choir. 'Bats in the Belfry' jazzy-prog rock instrumental, bass, synth and front pads; cinematic air on a BOF by James BOND it's catchy, crystalline organ break it's like being in heaven, a little laser and Nick puts his all into it in a breathtaking finale; the title of the album. 'Oak and Stone' for David's jazzy piano and vocal ballad; the Genesis end for the instrumentation and ethereal vocals 'Welcome to the Planet' and the return of Clare on a title where the trumpet brings sensitivity and solemnity, the flute amplifying; a soaring, latent break with Clare who leaves on the voice of Sarah BROWN during her performance on PINK FLOYD, a final in fireworks and the 2nd title of the bluffing and innovative album.

A strange disc with a beginning without much particularity, neutral sensitivity, without extra... then it takes off over the titles, especially from the second part and we arrive amazed at the end of the album. The problem, David's flight to the real skies is just unthinkable given his always perfect performance; speechless, I ask myself the question of the continuation of the group, in short live the present moment for the moment.

Grimspound is the 10th studio album by UK's progressive rock act Big Big Train, featuring late David Longdon on lead vocals, flute, percussion, piano, guitars, mandolin, etc; Dave Gregory on acoustic and electric guitars; Andy Poole on keyboards and acoustic guitars; Danny Manners on keyboards and double bass; Rikard Sjöblom on guitars, keyboards and backing vocals; Rachel hall on strings (violin, viola, cello) and backing vocals; Greg Spawton on bass and backing vocals and Nick D'Virgilio on drums, percussion and backing vocals?OMG, what a cast of characters!

Every time I sit down to listen and review a BBT album it just gets harder and harder for me because their albums just become better and better, like a nonstop growing snowball that just accumulates layers and layers of musicianship, talent, memorable melodies, lessons learned, lessons taught, timeless songwriting, and incomparable cohesion between its members. A more than deserved follow up to the immense Folklore (2016), Grimpsound is the first of two masterpieces of albums released in 2017 (more about that in the near future), memorable but a little darker in the melody and lyrical content, with hooks so huge they could easily catch a whale.

Brave Captain, On The Racing Line, the title track Grimpsound, A Mead Hall in Winter? a group of songs that reach so deep inside the listener, sometimes symphonic, sometimes Neo, sometimes even Heavy at spots without abandoning the always expected playfulness they add to all of their work, beautiful when fully digested, and then it simply stays forever. Another mandatory listen to any Prog lover, enjoy!

The Difference Machine stands at the end of an era for Big Big Train. The most obvious reason why this is the case that it's the last album from before David Longdon joined, but it's worth noting that the lineup shift between this one and The Underfall Yard was even more significant than that; Dave Gregory joined on guitar, Nick D'Virgilio of Spock's Beard joined on drums, and for the run of albums from The Underfall Yard to The Second Brightest Star the fivesome of Gregory, D'Virgilio, Longdon, and Big Big Train co-founders Gregory Spawton and Andy Poole would be the core of the band even as other members were added to the ensemble here and there.

The lineup shift in between The Difference Machine and The Underfall Yard, however, is not just significant for who showed up: it's also notable for who left, since it's the last album with Steve Hughes and Sean Filkins. Hughes had been a stalwart of the group, appearing on every prior release except Bard - and you get the impression that even the band members who were on Bard wish they hadn't been, because the band haven't even tried to reclaim it the way they did with English Boy Wonders. With his disappearance, only Andy Poole and Greg Spawton remain of the original lineup, and whilst the early years of Big Big Train were patchy ones, I still think Goodbye To The Age of Steam was a classic and losing another link to it feels like the end of an age.

Sean Filkins might not have had as long a tenure in the band as any of the other three members on this album, but he'd also been on Gathering Speed, with this album made by four of the same five band members as that one (founding keyboardist Ian Cooper departed after Gathering Speed, leaving Greg Spawton to handle that side of things) you can see Gathering Speed and The Difference Machine as forming a sort of middle period for Big Big Train - bringing a level of stability which they hadn't had since Goodbye To The Age of Steam, rekindling hope in the project after the demoralising mess of Bard, and paving the way for The Underfall Yard to kick off a new era for the group.

However, there's a fascinating contrast between the two. Gathering Speed seemed like a shift from the blend of classic and neo-prog influences and 1990s indie rock which the early band explored to a more purely classic prog influenced style. On the Difference Engine, they take those influences and use it to construct this murky, mysterious atmosphere - like Genesis trying to chart their way into space rock realms but they used a chart drawn by Van der Graaf Generator so they end up falling into a black hole or something.

As well as being a strong coda to the brief Sean Filkins-fronted era of the band, the album also contains the seeds of the group's future - Nick D'Virgilio and Dave Meros of Spock's Beard guest, not only signalling Big Big Train's gently increasing stature in the prog scene but also inadvertently giving Nick a little audition for Hughes' drum stool. Pete Trewavas of Marillion also appears, and perhaps it's appropriate that Big Big Train's pre-David Longdon era was bookended with releases with neo-prog legends guesting (IQ's Martin Orford having appeared on Goodbye To The Age of Steam) - not because they sound like 1980s neo-prog here, but because they are once again here coming up with a modernisation of classic prog, albeit with a much more unabashed embrace of the sounds of the past and much less regard for currently-popular sounds than usually associated with neo-prog. Big Big Train began their career with what I believe is a five-star album; in The Difference Machine, they finally made another five-star classic, definitively putting an end to the difficult slump they went through in between.

Folklore is the ninth studio album by the English #progressiverockband #bigbigtrain and is the first one to include mister Gunfly, the super talented guitarist, keyboard player and vocalist Rikard Sjöblom former from #beardfish, as well as violinist #rachelhall. Then we have the rest of the lineup:

#davidlongdon (RIP) on lead vocals, flute, mandolin, acoustic guitars

#nickdvirgilio on drums, percussion and backing vocals

#gregspawton on bass, acoustic guitars and backing vocals

#andypoole on acoustic guitars, keyboards and backing vocals

#davegregory on guitars

#dannymanners on keyboards and double bass

I have a friend that always talks about how deep early #genesis music and melodies run through his veins, that they come to our lives to stay with us forever, and that's exactly how I feel with BBT's music, specially after late Longdon joined the band.

The title track Folklore opens the album and it's an automatic winner, all of it, sensational. Even though we will find a couple of snippets that will remind us of the previous musical concept of EE Parts 1 & 2, this song already directs the listener to a new concept, both musical & lyrical, and in both this song and the following London Plane (one of my favs) Rikard's playing can be truly felt and heard, as well as the beautiful and memorable strings. BTW, the symphonic discharge here lead by Longdon's flute and Nick's frenetic drumming is immense!

Along the Ridgeway brings the first horns of the album, at least the first noticeable ones, as well as the female backing vocals, beautiful combination. Honorable mention to D'Virgilio's singing, what a par him and Langdon were? Hall's violin is another highlight in a song that jumps from classic prog rock to symphonic to modern Neo to symphonic again. How many instruments interacting together without interfering on their marvelous work. Chapeau

Salisbury Giant follows introducing some haunting and darker melodies, teasing with the same idea already presented on the title track solidifying the concept. I love the keys on this track, so well accompanied by the "background" guitar licks and enhanced by the strings and vocals. Greg Spawton is a master songwriter, he deserves a place at the composser's Olympus without a doubt.

The Transit of Venus Across the Sun kicks off with the beautiful instrumental orchestration that unexpectedly evolves into a logic continuation of the concept, pastoral at times and even tribal at others but never abandoning their roots, just a brief experimentation here and there, magically blended with their musical blueprints. Great chanting choruses.

Wassail appears here again after being released the previous year in the EP by the same name, one of those eclectic Longdon tunes with a funky retro groove modernized by his vocalization and the outstanding rhythmic work accomplished my Spawton & D'Virgilio, heavy & symphonic, evocative & hooky, folky & danceable, great!

Winkie, the pigeon! How many birds (blue hen) have been awarded a gold medal, a military one? Winkie did! So keeping the storytelling going, Langdon smartly transmits this incredible story to the listener, how Winkie help save the crew who crashed in freezing waters after being damaged in mission to Norway, the crew set her free and she flew all the way back home to her owner who alerted the authorities and hence a rescue search happened, the crew was saved and winkie honored with the Dickin Medal? and all of this with superb musical performance.

Brooklands teases again with previous musical concepts because that's just what Spawton does, and its great, a thin but almos predictable connection between all his creations, different but similar? a lucky man, a lucky man! Spawton, D'Virgilio and Sjöblom deliver top shelf progressive rock, that kind of music that will test the pass of time and will be recognized and adored 40-50 years from know, no doubt about it. Honorable mention to the flute playing by David, so clean.

Telling The Bees closes this #masterpiece of an album with hopeful like melodies with that feeling that something important and much awaited has been accomplished and perhaps delivering some nuances of what to expect from the band's future works. I really like the liberty that has been given to Sjöblom in this album, he might not have his writing print here yet, but his wonderful and soulful playing can be felt everywhere in numerous layers and forms. A well deserved ending to a great album, a must listen to prog rock fans!