In my mini-review of Ian Thornley’s outstanding Secrets I described the Big Wreck singer/guitarist/writer’s solo effort as “acoustic, reflective, mellow, mournful, defiant, sad, and yet shot through with a sense of cautious hope.” The new Big Wreck album Grace Street has its reflective and mellow moments—”Useless” is a mesmerizing, melodic gem and “Motionless” is a soaring mid-tempo number—but the key, overlapping descriptives surely are “defiant” and “hope”. If I were to channel my 17-year-old self (30 years ago!), I would simply say, “This albums kicks ***!” Since reuniting in late 2011, the Canadian rockers have produced three must have albums: Albatross (2012), which includes one of my favorite rock songs, period; Ghosts (2014), nominated for “Rock Album of the Year” at the 2015 Juno Awards; and now Grace Street. As many others have said, this band deserves far more attention for consistently producing albums filled with aural delights.
The opening song, “It Comes As No Surprise”, is apparently inspired in part by Thornley’s divorce and is equal parts bombast and vulnerability, with wall-of-sound guitars bringing to mind the Von Hertzen Brothers (fans of that group’s 2015 “New Day Rising” should embrace Grace Street readily), while the vocal harmonies remind me of something from Moon Safari or even the Beach Boys. While Big Wreck is not straight prog, it certainly embraces some prog elements—similar, I think, to how Queen used complex vocal harmonies, unusual chords, and elaborate guitar passages:
The second cut, “One Good Piece of Me”, is about as AOR-sounding as the band gets (the opening riff is pure Asia, circa 1983), the sort of song that would have chewed up the radio back in the Eighties, with its power chords, anthemic vocals, and driving bass. “Tomorrow Down” has more of a grunge sound, with Thornley sounding very much like Chris Cornell, especially in how he moves from seductive to snarling at a moment’s notice. “You Don’t Even Know” is loping ear candy, a blues-inflected, hand-clapping (yes, actual hand claps!) number that would—wait for it—make Los Lonely Boys proud, with the sort of tasty guitar solo that Thornley excels at.
The middle section of the generously timed album (just shy of 70 minutes) is simply brilliant. “Useless”, as hinted at above, is a sonic and musical marvel, described by Thornley as one of his favorites. “A Speedy Recovery”, the longest track (7:38), is the very definition of an earworm, with incredibly catchy drum/bass parts, swelling guitars, hypnotizing chorus, soaring vocals, and another glorious guitar solo:
“Motionless” displays Thornley’s astounding range atop a bed of layered sonic sweetness, while “Digging In” has a more raw, classic rock sound with several overt Led Zep shout outs. “The Receiving End” could have easily fit on Chris Cornell’s most recent solo album, replete with mandolin, some slide guitar, and some falsetto. “Floodgates” is equal parts grunge and funk—Extreme, anyone?—with bassist Dave Mcmillan laying down some fabulous bass lines.
The final three cuts have plenty to offer fans of prog: “The Arborist” is built on some deceptively snaky guitar parts, with plenty of minor-keyed darkness around the edges; “Skybunk Marché” is a 7-minute long instrumental with all sorts of guitar gifts; and “All My Fears On You” is a surging, Pink Floyd-ish closer with a classic Thornley solo bringing the album to conclusion.
The Prog Report, in its glowing review, states: “At times channeling Led Zeppelin, the Rolling Stones and other 70’s acts combined with their own unique style, ‘Grace Street’ is an exhilarating and refreshing rock album, one that is already one of the year’s best.” That’s as good of summary as you’ll find of what is an early entry into CEO’s Top 10 Rock Albums of 2017.