by Brad Birzer

To me, ‘progressive’ is a term which describes a genre of music. That genre emerged from the rock and pop music of the 60’s and became fully defined in the early 70’s. But what I think may be the sub-text behind your question is whether bands writing and performing music in the progressive genre need, by definition, to be striving for some sort of statement of originality in everything they do. I think not, but I am aware that many others take a more absolutist view of things and this has caused an endless debate. In The Music’s All That Matters, Paul Stump makes some very interesting observations. Early on in the book, he correctly identifies that the main problem with progressive rock is its name (he calls it ‘the most self-consciously adjectival genre in all rock’.) Another point that Paul Stump makes is about what unites the musicians of the genre. He says they have ‘a hankering after the transcendent’. I really like that phrase as it can take on a broader meaning than ‘progressive’. In Big Big Train, we combine our influences in a way, which is often original. But trying to do something different isn’t the be-all-and-end-all. What we are really trying to do is to make extraordinary music.–Greg Spawton, Summer 2012

I must admit, I’m a little lost for words when it comes to reviewing the new release from Big Big Train, English Electric Vol. 2 (officially out today).  And, as my wife, my kids, my friends, and my students can attest, I’m almost never at a loss for words.  I’m sure there are times when they’d like me to be!

My problem is this.  The music is so very good, so very much beyond the bounds of normal description and descriptives, and I want in the worst way for the quality of my writing and my thoughts to do it justice.  Frankly, I’m not sure I’m capable.  Not being shy enough or humble enough, I will just jump in. . .

When I first heard The Underfall Yard, I thought music could get no better than this.  Especially listening to Longdon’s voice.  Schnikees.  Could that guy get any better?  And, those lyrics.  Who wouldn’t want to visit the Victorian Brickyard, meet Mr. Delia, dive into that watery purgatory below Winchester Cathedral, or watch electrical storms moving away from England?

Then, I heard Far Skies Deep Time.  Ok, they’d reached the top this time, for sure.  They have to have done so.  Where could they go after this?  Again, such wonder.  If I caught a plane to England, might I still be able to see Fat Billy just before he died on that beach, a bloated alcoholic with the waves calling him home?   Or, how about that English girl who tore my heart out or that other one with the berry-stained lips?  No, too late.  But, maybe, just maybe, I can be reminded that if we only have love, we have enough.

Then, I heard English Electric Vol. 1.  Ok, what to do was my first thought?  Everything I’d known and believed about music was blown apart.  Nothing had so moved me since I’d first listened to an advanced copy of Talk Talk’s Spirit of Eden back in September 1988.  Oh, Mark Hollis, where art thou?

I try to walk at least four miles a day.  I’ve been doing this much of my life, and I find the time walking absolutely necessary to keep my mind focused when I’m writing, to de-stress when I need to de-stress, to listen to fiction on my ipod, and, especially, to have alone time with my favorite music.

Continue reading “Beyond Prog: The Authentic Voice and Art of Big Big Train” →