“Suddenly, you were gone, From all the lives you left your mark upon……”
( Afterimage – Rush)
…..And that’s just how it happened. The tragic news about the accident which had taken you so quickly, so unexpectedly and so cruelly came through that fateful Saturday afternoon. You could hear the collective cries of disbelief from us all, the friends, fans and admirers who still mourn your terrible loss.
The magnitude of the grief that afternoon and still continues is monumental.
But it was that suddenness, recalling everything that had gone before, and anticipating what could still have been, that left us all so shattered.
It was also remembering everything you brought to us through the way you shared your unique, cosmos-given talents which you spent most of your life refining and perfecting, while at the same time, maintaining your incredible love of life and for people which always reflects in…
I’m not sure how I missed this one earlier this year, but Theo Travis released a song featuring David Longdon on vocals. It has a totally different feel than Big Big Train, and Longdon’s voice takes on what could be called a crooner tone. He could have held his own in the rat pack!
The lyrics to “Brilliant Trees” are rather haunting, but as it gets to the end it becomes rather heartbreaking. [Edit: “Brilliant Trees” is a cover of a David Sylvian song.] As he walks away from the camera into the trees, we know he won’t be coming back. Travis’ Duduk playing seems to have a dirge quality to it, especially in light of what has happened.
I couldn’t believe my eyes when I stumbled across Prog magazine’s tweet announcing David Longdon’s death yesterday. I still can’t believe it. 56 years old and at the height of his music career with so much to look forward to. Life is so precious and so brutally short. To be taken so quickly and so unexpectedly… We’ve lost a lot of prog legends in recent years, but very few at the height of their careers. Piotr Grudziński from Riverside is the last I can remember who died so unexpectedly at a young age.
David and the band have been such kind supporters of Progarchy since our inception in 2012. Our site has had the fortune of interviewing him a couple times including this past summer when he gave a lovely interview to Rick Krueger. In that interview David shared his excitement for the band’s future plans. His thoughts on the song, “Common Ground,” really sting now that he’s gone:
This time in my life – I’m now 56. It’s time to get on it, because we don’t have forever! This was written slightly before the pandemic actually, the title track. But it’s just about that, really; it’s about claiming it! It’s not about “will we find it?” It’s “you’d better find it and get on with it, because you’re not — it won’t be forever. We don’t get forever.” That’s the beauty of being human, we don’t get forever.
I can still remember the first time I heard Big Big Train back in 2013. I was sitting in my dorm room in college. I think it was “The First Rebreather,” and I remember being captivated by David’s voice. So pure. So effortless. The tone of a fine pipe organ. Over the next few years I fell in love with Big Big Train, and by 2015 they were my favorite band of the “new” wave of prog. Now they rank next to Rush as my favorite band of all time. There was nothing David couldn’t sing, as he proved on Common Ground by mixing it up on “All The Love We Can Give.”
My journey as a Passenger reflects my journey with progressive rock over the last nine years. What started as an appreciation for bands like Rush, Kansas, and Styx grew into an obsession with progressive rock new and old. Thanks to friends here at Progarchy, I’ve been exposed to so much music, much of which has quite literally changed my life. I know Big Big Train has. I’ll never forget listening to English Electric on a bus in England while I spent a month there doing archival research. It was one of those key moments that sticks in my memory, and David is the voice for that memory.
David’s addition to Big Big Train in 2009 marked a major turning point for the already 20-year-old band. His voice, in my opinion, is unmatched in the music world. I can’t think of a better vocalist. Beyond that, he was an excellent lyricist and musician. The combination of Longdon and Greg Spawton as writers is certainly unmatched in music. Others might have more acclaim, but none are better.
My Big Big Train collection
David wrote two kinds of songs: stories and anthems. Being an historian, a curmudgeon, and a prog snob, I generally prefer the stories. But his anthems are far too good to be ignored or dismissed. He had such a bright and positive outlook on life, as evidenced in his song, “Alive.”
Sunrise
A new day
Bright blue sky
Open the door and step outside
Feel the wind at my heels
It’s good to be alive
These lyrics are a good reminder for a grump like me not to take anything for granted. Perhaps David’s legacy can be summed up in his own words:
I’m a travelling man
Each day I walk the byways of this life
Till I’m dead in the grave at the end of my days
I’ve known what it means to be alive
He ended the liner notes for “Alive” with the admonition to “seize the day.” Tomorrow isn’t guaranteed for any of us.
There aren’t many vocalists out there who can bring such power and emotion to the seemingly mundane. He brings adults to tears in songs about steam trains, pigeons, and shipyards through his powerful delivery.
I re-watched Empire last night, and I was reminded yet again what a brilliant showman David was. For whatever reason, the song “Winkie” has always hit me right in the feels. Maybe the story of doomed men being saved beyond hope because of the humblest of creatures does it for me. Watching the band perform that song now with the knowledge that David will never sing it for us again was really moving. I’m glad the band filmed their concerts so that we could all enjoy their live performances. I don’t think they could have imagined that we would so soon be using those Blu-rays to remember David. I’m incredibly sad that I’ll never be able to see him perform live. I was looking forward to them playing in America.
Another song of David’s that comes to mind in remembering him is “The Florentine” off 2019’s Grand Tour. The track is about Leonardo da Vinci, but these lyrics could easily be said of David:
You showed us
New ways to know our world
Of what we see and all we could be – ah
Inspire us to reach and spur us on
Daring us to dream – see further
I suspect I speak for thousands of fans who can say that David encouraged us to investigate our world and to dream – to see further.
My words could never do justice to David Longdon’s memory. His loss hurts as much as Neil Peart’s did. His voice and his words have made him a close friend to me, even though I never had the honor of meeting him. His art has inspired me to be a better man. It has inspired me to be creative, whether that be in my writing or in my painting. In fact Big Big Train is my favorite music to listen to when I paint. His music has become so ingrained in my life that I can’t imagine life without it. I’m grateful that I can still listen to his music, but now it will always be bittersweet.
I offer my sincerest condolences to the band, to Sarah Ewing, to David’s daughters, and to his mother. Thank you for sharing David with us, and I hope the outpouring of love from his many fans is a tiny sliver of comfort in these dark times.
What an absolute punch to the gut. Prog Magazine is reporting, with confirmation from Big Big Train, that David Longdon tragically died today in hospital after an accident yesterday morning. I don’t even know what to say. This is an absolute tragedy. And here I thought this shithole of a year couldn’t get any worse.
One of the reasons Progarchy was founded nine years ago was to celebrate Big Big Train’s music, and David Longdon’s brilliance was a certainly a big reason behind that. His vocals, lyrics, and musicianship propelled the band to new heights. This is a major loss to the progressive rock world and obviously to the band.
Our prayers are with the band and Longdon’s loved ones. We’re certainly devastated here at Progarchy. Longdon was always very kind to us here, including giving us a wonderful interview earlier this year. We will miss him greatly.
Robby Steinhardt, Not In Kansas Anymore, 2021 Tracks: Tempest (1:41), Truth 2 Power (Only Truth Can Change The World) (3:48), Mother Earth (Is Calling You) (4:42), Rise Of The Phoenix (5:22), The Phoenix (4:06), Prelude (1:54), Dust In The Wind (5:43), Pizzacato (A Slice For Baby Boy Flynn) (2:37), Tuck Tuck (6:10), Not In Kansas Anymore (4:40), A Prayer For Peace (Bonus Track) (3:15)
It was only a few months ago that we mourned the loss of Robby Steinhardt, but out of that sadness we found out that his very first solo album was just about finished. The album release was delayed because of his death, but Not In Kansas Anymore was released a week ago. It is far better than I could have imagined. In many ways it sounds more like Kansas than Kansas does these days. The hard rock, the unique touch Robby had on the violin, the beautiful vocal harmonies – Not In Kansas Anymore has it all.
The album was produced by Michael Thomas Franklin, who produced Jon Anderson’s 1000 Hands a few years ago, for which Steinhardt played violin on one song. Franklin pulled together a cast of literal rock stars for this record, including Ian Anderson (flute on Pizzacato), Steve Morse of Deep Purple/Dixie Dregs/Kansas/Flying Colors, Billy Cobham of Mahavishnu Orchestra, Bobby Kimball of Toto, Chuck Leavell of The Rolling Stones, Liberty Devitto (Drummer on Billy Joel’s hits), Jim Gentry, Pat Travers, Billy Ashbaugh (Moody Blues/Pat Benatar), Lisa Fischer (longtime vocalist for The Rolling Stones), and more.
The record opens with a brief instrumental before pounding into a classic Kansas sound with “Truth 2 Power.” It has a glorious intro of vocal harmonies that screams late 70s Kansas. The lyrics deliver a message of, well, truth about the necessity of speaking truth even when it is derided. The line “only truth can change the world” seems Livgren-esque in a lot of ways, seeing as the world-changing power of truth as personified in Jesus is central to Christianity and the Bible. I don’t know what Steinhardt’s spiritual background was or whether or not he was a Christian, but these lyrics certainly spoke to me in that regard.
The album features an ode to the earth, which is another theme that ran through Kansas’ lyrics back in the day. Musically and lyrically “Mother Earth” reminds me a little bit of “Cheyenne Anthem.” We get a bit of western imagery in the middle of the album, and there or subtle lyrical nods to the Wizard of Oz, which is most blatant in the beautiful cover art by Tom Lupo. “Rise of the Phoenix” is an instrumental track that is pure Kansas. The guitar, bass, drums, and violin all blend perfectly in a driving track that sets the stage for “The Phoenix,” which is another track reminiscent of Kansas.
I was surprised to hear something that reminded me of Big Big Train on this record. The sixth track, “Prelude,” is a brief introduction to a beautiful cover of Kansas’ “Dust In The Wind.” The prelude blends aspects of the Kansas sound with distinctly Big Big Train movements, including a brass band towards the end and the way the musical action steps down towards the end before morphing into “Dust In The Wind.” Perhaps it wasn’t intentional, but it sounds great all the same. “Dust In The Wind” is mostly true to the original, with the song building into harder rock territory as it goes along. It also adds more symphonic elements to the track. All along it retains the Kansas sound.
Ian Anderson’s flute stands out immediately on “Pizzacato (A Slice For Baby Boy Flynn),” which is a folk instrumental rather than a rock piece. Robby’s violin blends well with Anderson’s flute, and it makes you wonder what an entire album of their collaborations could have given us. Both men strike me as being rather similar in a lot of ways, at least when it came to their stage presence back in the 70s.
“Tuck Tuck” is a rather touching ode to the forgotten people of society – the hookers, beggars, and downtrodden of the cities. Steinhardt reminds us that those who have absolutely nothing matter just as much as anybody else. He reminds us that they all have stories – backgrounds of where they came from. He calls them “a royal family / lords and ladies of the evening.” He tells us of Nancy, a girl who excelled in her youth but had to leave home at 17 because of abuse at home, and sadly now she is on the streets. He tells of a young man who came back home from serving in the military and who couldn’t find any work. Now Joey is living in a cardboard box on the streets. Both are “downtown royalty.” Musically the song is a blend of styles with elements of a laid-back country song mixed with more a more traditional ballad. Lyrically I find the song quite moving.
The losers and twenty-four hour girls The street corner boys and the underworld Holding court in city streets Everyone’s seen downtown royalty
Steinhardt’s vocals really shine on the album. I wasn’t sure how he would sound after so many years on the road as well as so many years away from the industry and the health issues he dealt with over the last decade. But he sounds just like you would remember, albeit with a bit deeper tone. It’s a warm and comforting voice that I have missed in the milieu of modern prog.
Robby Steinhardt’s Not In Kansas Anymore is one of the first albums in a little while that made me sit up and take notice. I wasn’t sure which direction this record would go – if it would be more rock, more classical, folk, or what. Robby had been mostly retired for a long time, but that time away clearly didn’t impact his talent as a musician. The most tragic part of this record is how it now represents a new beginning cut short. It was Steinhardt’s first, and sadly last, solo album. He was excited to get on the road and tour starting this past August, but unfortunately he got sick in May and never fully recovered. Thankfully we will have this record by which to remember him, in addition to his years of brilliant work with Kansas.
This album is definitely one to check out, especially if you’re a Kansas fan. It has the special touches that I think have been missing from the last two Kansas records.
Holy cow! I wasn’t expecting news of a new Big Big Train album this morning. This just goes to show that this band is one of the few decent things left in this world. Life seems to suck more and more by the hour, but Big Big Train breathe a bit of light into the darkness.
The new album, Welcome to the Planet, is set to be released on January 28, 2022 – just six months after their last album, Common Ground. The new album features contributions from the entire new lineup. Here’s the tracklist:
PART ONE
Made From Sunshine
The Connection Plan
Lanterna
Capitoline Venus
A Room With No Ceiling
PART TWO
Proper Jack Froster
Bats In The Belfry
Oak and Stone
Welcome To The Planet
As with Common Ground, Welcome To The Planet sees Big Big Train retain their progressive roots but also take influence from all spheres of music. The album’s opener Made From Sunshine, co-written by guitarist Dave Foster and singer David Longdon, has guitar lines redolent of Johnny Marr and vocal harmonies reminiscent of the Finn Brothers/Crowded House, with violinist Clare Lindley sharing lead vocals with Longdon.
Elsewhere on the album, keyboard player Carly Bryant gets her first Big Big Train writing credit and lead vocal on the captivating title track. The two recent singles The Connection Plan and Lanterna are included along with a winter themed song Proper Jack Froster, a bittersweet tale of childhood. The album is completed by the delicate acoustic Capitoline Venus, the beautiful Oak And Stone and a pair of dazzling instrumentals, A Room With No Ceiling and Bats In The Belfry, written by guitarist/keyboardist Rikard Sjöblom and drummer Nick D’Virgilio respectively
Los Angeles-based progressive rock band Lobate Scarp (which features Progarchy’s very own Adam Sears) is in the final day+ in their crowdfunding campaign for their second album. They have almost met their goal, and there are a lot of cool perks, so go check it out: https://www.indiegogo.com/projects/lobate-scarp-s-2nd-studio-album-new-prog-rock#/
In addition to all the other great things they have in store for the new album (just check out that artwork!), they announced that Jon Davison and Billy Sherwood will be providing guest vocals on a track. Yes!
Devin Townsend released a video on his YouTube channel today updating us all on his upcoming albums – Puzzle, Snuggles, and Lightwork. Sadly due to supply issues for plastic, the release date is being pushed back to December 3, 2021. Townsend continues to work on the new Lightwork album as well, with the finished record due to the label right before the new release date for the two other projects. More from the man himself:
You may remember way back in January when we reviewed Australian band Lucid Planet’s sophomore album. It’s a great album, and now it will be coming to vinyl on November 5. Pre-orders are open now. With beautifully detailed album artwork, the large record sleeve will look great. A real eye-catcher.
One of our media contacts sent us the debut album from prog metal duo Athemon, featuring Adriano Ribeiro (guitars and vocals) and former Haken bassist Tom MacLean (bass, production), as well as guest Gledson Gonçalves on drums. Initial thoughts – quite good. Heavy and dark. Vocals run the metal spectrum with cleans and distortion. Their overall sound is a lot larger than the number of musicians might suggest. Definitely check them out.
Here’s the press release and a Bandcamp link at the end:
Progressive metal duo Athemon debut self-titled full length will release on October 11th, 2021 and will be available on Flyathemon.bandcamp.com and Spotify.
Crossing paths online during the beginning of the Covid global lockdown, musicians Tom MacLean (bassist/producer, To-Mera, ex-Haken) based in the UK and Adriano Ribeiro (vocalist and guitarist) based in Brazil, used the digital world to their advantage to give rise to their new band Athemon. “Adriano sent me his demo and it gave me goosebumps, so I was keen to get involved,” says MacLean.
From a significant evolution between demos to their final introductory recordings, MacLean and Ribeiro created a bonding friendship over musical interests that created the perfect environment to allow them to evolve and conceive their debut album. Formed as a gateway to express their art using progressive metal music, Athemon’s first release is a concept record that is meant to be heard as one long 50-minute track divided into nine parts.
“Full of dark and enigmatic atmospheres, this is a 50-minute concept album divided into nine songs, which tells a story about self-awareness. This is a creative release that seeks to forge the perfect alloy of darkness and beauty,” adds the band.
For the album’s recording, the duo invited a special guest drummer from Brazil, Gledson Gonçalves who added his percussionist touch to compliment each one of the nine tracks.
“As nobody goes alone in this world (even being totally alone inside one’s own mind), the songwriting process had a lonely beginning, but a very collaborative end. The beginning of this project was driven by Adriano, but nothing would fit so well if it wasn’t for the amazing connection the three of us have (Adriano, Tom, and our special guest on drums, Gledson),” says MacLean.
The lyrics for the album were written by vocalist/guitarist Adrian Ribeiro and were inspired by thoughts of how confusing reality can be if you are not taking care of your emotional side. “The thin line between what’s real and what’s not is an endless world,” adds Ribeiro.
New fans of Athemon, can expect much more to come from the pair as they already have plans to launch their second album by the end of 2022, which they are currently composing with promising results. As for the live spectacle of Athemon, for now, the band will let the music flow until the duo can connect from across the Atlantic for their first in-person jam session. Recommended for fans of Nevermore, Pain of Salvation, Opeth, Gojira, and Mastodon, Athemon’s self-titled debut is available on all digital platforms.
Robby Steinhardt, Not In Kansas Anymore, 2021
Holy cow! I wasn’t expecting news of a new Big Big Train album this morning. This just goes to show that this band is one of the few decent things left in this world. Life seems to suck more and more by the hour, but Big Big Train breathe a bit of light into the darkness.
Los Angeles-based progressive rock band Lobate Scarp (which features Progarchy’s very own Adam Sears) is in the final day+ in their crowdfunding campaign for their second album. They have almost met their goal, and there are a lot of cool perks, so go check it out: 
You may remember way back in January when we 
One of our media contacts sent us the debut album from prog metal duo Athemon, featuring Adriano Ribeiro (guitars and vocals) and former Haken bassist Tom MacLean (bass, production), as well as guest Gledson Gonçalves on drums. Initial thoughts – quite good. Heavy and dark. Vocals run the metal spectrum with cleans and distortion. Their overall sound is a lot larger than the number of musicians might suggest. Definitely check them out.
Progarchy 